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THE 

Prologue  in  the  Old  French 


AND 


Provencal  Mystery 


BY 

DAVID  HOBART  CARNAHAN,   PH.D. 

Assistant  Professor  of  Romance  Languages  in  the 

University  of  Illinois 


A  Thesis  presented  to  the  Faculty  of  the  Graduate  School  of  Yale  University 

in  Candidacy  for  the  Degree  of  Doctor  of  Philosophy 

1905 


NEW  HAVEN 

THE   TUTTLE,    MOREHOUSE   &   TAYLOR   COMPANY 
I9°5 


Copyright,  1905 

by 
DAVID  HOBART  CARNAHAN 


LIBRARY 

UNIVERSITY  OF  CALIFORNIA 
SANTA  BARBARA 

C3 


CONTENTS 

PAGE 

INTRODUCTION  .......          7 

PART  I 

I.    VERSIFICATION  .  .  .  .  .  .11 

1.  Syllabification      .  .  .  .  .  .11 

2.  Elision  and  hiatus          .....        15 

3.  Varying  syllable  values  .  .  .  .17 

4.  Rhyme       .......        20 

5.  Overflow  verse    ......        29 

6.  Broken  couplets  .  .  .  .  .32 

7.  Cesura       .......        34 

II.    JOINING  OF  PROLOGUE  TO  MYSTERY     ....       38 

III.  ORTHOGRAPHY  AND  PRONUNCIATION  .  .  .43 

IV.  MISCELLANEOUS  ......        46 

1.  Latin  rhyming  with  Latin        .  .  .  .46 

2.  Latin  rhyming  with  French      .  .  .  .47 

3.  Assonance  for  rhyme     .  ...  .  .50 

4.  Imperfect  rhymes           .            .            .  .  .50 
V.    VERSIFICATION  IN  THE  PROVENCAL  PROLOGUES  .  .51 

1.  Syllabification      ......        51 

2.  Rhyme       .......         52 

3.  Overflow  verse    ......        55 

4.  Broken  couplets  .  .  .  .  56 
VI.    JOINING  OF  PROLOGUE  TO  MYSTERY     .           .           .           .58 

VII.    BRETON  MYSTERIES      ......        59 


4  Contents. 

PART  II 

I.    OBJECT  OF  PROLOGUE 

1.  Sermon     . 

2.  Proverbs  and  comparisons 

3.  Mention  of  sources 

4.  Erudition 

5.  To  instruct  or  to  amuse 

6.  Apology 

7.  Plea  for  silence 

8.  Analysis  of  mystery 

9.  To  introduce  the  actors 
10.  Stage-setting 

II.    BY  WHOM  GIVEN 

III.  To  WHOM  ADDRESSED 

IV.  DOUBLE  PROLOGUES 

V.    IRREGULAR  FORMS  OF  PROLOGUES 
VI.    PROVENCAL  PROLOGUES 
VII.     BRETON  MYSTERIES 


61 
63 
67 
68 
69 
73 
75 
79 
83 
85 
87 
89 
92 

94 

96 

108 

116 


APPENDIX  TO  PART  I 

I.  Representative  Old  French  prologues 
I.  Representative  Provengal  prologues 
3.  Representative  Breton  prologues 

APPENDIX  TO  PART  II 

Completed  lists  of  examples  for  Part  II 

TABLE  OF  MYSTERIES  WITH  PROLOGUE  INDEX 

BIBLIOGRAPHY 


117 

132 
137 

140 
191 
198 


PREFACE 

The  present  study  is  divided  into  two  parts.  Part  I  was 
presented  in  candidacy  for  the  Degree  of  Doctor  of  Phil- 
osophy at  Yale  University;  Part  II  is  supplementary,  in 
order  to  complete  fully  the  subject. 

No  previous  work  has  been  done  on  the  prologue,  con- 
sidered as  a  whole,  although  references  have  been  made  to 
it  frequently  in  the  various  editions  of  mysteries  and  in 
articles  on  the  subject  of  the  mystery. 

The  epilogue  likewise  has  not  been  studied,  but  I  have 
begun  work  on  it  and  shall  complete  it  after  the  publication 
of  the  present  article. 

The  work  used  as  guide,  and  consulted  continually  in  this 
study,  was  "Les  Mysteres"  of  M.  Petit  de  Julleville,  Paris, 
1880.  It  is  a  reliable  and  very  complete  treatise  on  the 
mysteries  known  up  to  that  date.  Reference  is  made  to  it 
for  description  of  manuscripts  and  editions  used,  and  for 
the  analysis  of  the  entire  mystery  from  which  a  prologue 
is  taken. 

Seventy-eight  Old  French  mysteries,  including  several 
fragments,  and  nine  Provengal  mysteries  are  named  in  the 
Table  of  Mysteries,  page  191  of  this  volume.  The  total 
number  is  considerably  greater,  as  various  groups  of  closely 
allied  mysteries  have  been  placed  under  one  number,  as  [24] 
Douze  mysteres  de  N.-D.  de  Liesse,  [78]  Le  Vieux  Testa- 
ment, including  nine  short  mysteries,  [87]  Mysteres  Rouer- 
gats,  etc.  A  few  Breton  mysteries  only  were  selected,  as 
they  are,  to  a  certain  extent,  outside  the  scope  of  this  article. 

Of  the  seventy-eight  Old  French  mysteries  named,  seven- 
teen were  found  in  manuscript  form.  Twenty-seven  were 
found  in  rare  editions,  preserved  in  the  "Reserve"  of  the 
Bibliotheque  Nationale  at  Paris. 


6  Preface. 

Only  prologues  of  the  regular  type  have  been  considered 
in  the  body  of  this  work.  Irregular  and  doubtful  forms 
have  been  treated  in  a  separate  chapter. 

The  number  of  verses  in  the  regular  prologues  copied  is 
somewhat  over  seven  thousand,  while  the  entire  number 
copied,  including  irregular  and  doubtful  forms,  is  over  thir- 
teen thousand. 

Only  a  few  of  the  representative  prologues  have  been 
reproduced  in  the  appendix  of  this  study,  this  being  done 
merely  to  illustrate  various  points  of  versification.  In  a 
supplementary  work  which  is  to  appear  within  the  year,  I 
shall  publish  a  number  of  prologues  which  exist  only  in 
manuscripts  or  rare  editions  in  the  Bibliotheque  Nationale 
at  Paris. 

I  wish  to  express  my  thanks  to  the  members  of  the 
Department  of  Romance  Languages  of  Yale  University  for 
the  instruction  I  have  received  from  them.  In  particular 
my  thanks  are  due  Professor  Frederick  M.  Warren  for  the 
suggestion  of  a  so  fruitful  a  subject  for  a  dissertation,  and 
to  Professor  Henry  R.  Lang  for  his  kind  assistance  in  the 
preparation  of  the  work.  It  should  be  added  that  a  part 
of  the  expense  of  publishing  this  thesis  has  been  borne  by 
the  Modern  Language  Club  of  Yale  University  from  funds 
placed  at  its  disposal  by  Mr.  George  E.  Dimock,  of  Eliza- 
beth, New  Jersey,  a  graduate  of  Yale  in  the  Class  of  1874. 

D.  H.  c. 

July  22,  1905. 


INTRODUCTION 

The  prologue  of  a  mystery  is  an  introductory  speech, 
delivered  by  the  author  at  the  beginning  of  the  representa- 
tion, a  member  of  the  company  or  a  priest,  not  a  member 
of  the  company,  for  the  purpose  of  fixing  the  attention  of 
the  audience,  of  giving  them  an  understanding  of  the  plot 
of  the  piece,  and  of  serving  as  a  vehicle  for  the  apologies 
and  explanations  of  the  author.1 

Each  prologue  contains  one  or  more  of  the  following 
elements :  sermon,  analysis  of  the  preceding  or  following 
"journee,"  description  of  stage  setting,  introduction  of 
actors,  apology  for  subject  matter  or  manner  of  presenta- 
tion, reasons  for  producing,  mention  of  sources. 

These  prologues  are  of  pure  French  development ;  no 
traces  of  the  influences  of  the  classic  drama  can  be  found 
in  them.  Just  as  the  Old  French  mystery  is  a  development 
of  the  Latin  liturgical  drama  of  the  Middle  Ages,  so  the 
prologue  is  a  descendant,  in  part  at  least,  of  the  introductory 
forms  found  in  this  same  drama. 

Nothing  occurs  in  the  tropes  and  early  forms  of  this 
liturgical  drama  which  corresponds  to  the  prologue,  but 
in  the  later,  more  developed  drama  various  introductory 
forms  are  found  which  may  well  be  considered  prologues. 
The  role  of  the  chorus  or  of  the  "Praecentor"  at  the  begin- 
ning of  the  ceremony  is  the  clearest  example  of  this 
resemblance.  The  following  examples  from  the  Latin 
mystery-plays  will  illustrate  this  fact. 

1  The  word  "prologuist"  will  be  used  throughout  this  work  to 
indicate  the  person  who  delivers  the  prologue  speech,  the  English 
term  "prologue"  being  ambiguous. 


8  Introduction 

"Mystere  des  Vierges  sages  et  des  Vierges  folles".1 

SPONSUS  (1.  Chorus.) 

Adest  sponsus  qui  est  Christus :   vigilate,  virgines : 

pro  adventu  ejus  gaudent  et  gaudebunt  homines. 

Venit  enim  liberare  gentium  origenes, 

quas  per  primam  sibi  matrem  subjugarent  daemones. 

Hie  est  Adam,  qui  secundus  per  propheta(m)  dicitur; 

per  quem  scelus  primi  Adae  a  nobis  diluiter 

Hie  pependit,  ut  coelesti  patriae  nos  redderet 

ac  de  parte  Inimici  liberos  nos  traheret. 

Venit  sponsus  qui  nostrorum  scelerum  piacula 

morte  lavit  atque  crucis  sustulit  patibula. 

Here,  we  have  an  introductory  chorus  in  Latin,  which 
precedes  the  dialogue,  and  serves  as  a  prologue  to  a  short 
mystery,  written  partly  in  Latin  and  partly  in  French. 
Again,  in  the  "Cantique  dialogue  de  la  Resurrection,"  2  we 
find  the  following  chant : 

CHORUS. 

Surgit  Christus  cum  trophaeo, 
jam  ex  agno  factus  leo, 

solemni  victoria; 
mortem  vicit  sua  morte ; 
reseravit  seras  portae 
suae  mortis  gratia. 

Hie  est  agnus  qui  pendebat 
et  in  cruce  redimebat 

totum  gregem  ovium ; 
cui  cum  nullus  condolebat, 
Magdalen  consumebat 

doloris  incendium. 

This  chorus  has  the  same  characteristics  as  the  preceding. 
In  the  "Mystere  de  Daniel"3  is  another  fourteen  line 
chorus  by  the  soldiers,  with  the  following  stage  directions : 
"In  primis  cum  venerit  Balt(h)azar  cum  pompa  sua,  sede- 
ritque  in  t(h)rono  suo,  cantabunt  MILITES  coram  eo  hanc 
prosam." 

1  Du  Meril,  Les  origines  latines  du  theatre  moderne,  p.  233. 
2Du  Meril,  p.  108.  3Du  Meril,  p.  241. 


Introduction  9 

The  "Passion  de  Francfort"  x  presents  a  different  form 
of  the  same  style  of  prologue,  in  what  might  be  called  a 
musical  "plea  for  silence;"  "Primo  igitur  Personae  ad 
loca  sua  cum  instrumentis  musicalibus  et  clangore  tubarum 
solemniter  deducantur.  Quo  peracto,  surgant  PUERI  clam- 
antes  :  'Silete,  silete !'  "  Here  we  have  "silete"  used  with 
its  original  and  literal  meaning  of  "be  silent,"  quite  dif- 
ferent from  the  later  use  indicating  a  pause  in  the  action  of 
the  mystery,  filled  in  by  various  kinds  of  music. 

In  the  "Mystere  des  Prophetes  du  Christ," 2  we  have 
another  form  of  introduction,  a  chant  by  the  Praecentor; 

(PRAECENTOR.) 

Omnes  gentes  congaudentes,  dent  cantum  laetitae ! 
Deus  homo  fit,  de  domo  David,  natus  hodie. 

These  forms  are  evidently  the  source  of  the  later  pro- 
logue, but  they  can  be  credited  with  but  little  influence  on  it. 
In  fact  traces,  not  of  these  prologue  forms,  but  of  the  entire 
trope,  or  entire  liturgy,  may  be  found  in  the  French  pro- 
logue. These  traces  are  represented  by  the  preservation  of 
the  "Te  Deum,  Ave  Maria,"  and  the  sermon  and  prayer. 

The  natural  explanation  of  the  final  form  of  the  pro- 
logue is  that  an  enlargement  of  the  prologue  became  neces- 
sary as  the  scope  of  the  mystery  broadened.  The  more 
complicated  scenery,  the  greater  number  of  actors  and  the 
representation  of  more  ambitious  and  unfamiliar  subjects 
demanded  more  explanations.  The  transfer  of  the  place 
of  representation  from  the  churches  to  the  public  squares 
or  buildings,  together  with  the  increase  in  the  number  of 
spectators,  rendered  frequent  requests  for  silence  impera- 
tive. The  fear  of  offending  the  Church  by  the  increasing 
secular  character  of  the  play  forced  the  retention  of  the 
sermon  and  the  invocation,  and  brought  about  the  frequent 
apologies  for  the  nature  of  the  subject-matter. 

Just  as  the  lowly  rank  of  the  early  Provengal  poets  is 
responsible  for  the  stereotyped,  humble  court  phrases  of 

1  Du  Meril,  p.  297.  z  Du  Meril,  p.  179. 


io  Introduction 

the  later  Provencal  poetry,  so  many  of  the  apologetic  forms 
of  address  in  the  prologues,  at  first  used  from  necessity, 
and  genuine  in  character,  became  later  mere  stock  phrases, 
used  as  a  matter  of  custom,  and  serving  as  "chevilles." 

The  few  forms  of  prologues  which  diverge  from  the 
above  mentioned  regular  type,  such  as  the  allegorical  pro- 
logue of  [72]  "Les  Trois  Doms",  may  be  explained  merely 
as  the  effort  of  some  author  who  is  more  original,  to  find 
a  new  form  of  expression. 

The  first  regular  prologue  found  is  in  the  fragment  of 
the  "Resurrection"  (i3th  century)  and  the  use  of  this 
as  a  regular  prologue  may  be  even  questioned,  as  it  consists 
simply  of  a  description  of  stage  setting,  and  is  perhaps 
addressed  to  the  stage  managers  rather  than  to  the  audience. 

The  mystery  of  Adam,  which  is  still  earlier,  has  a  Latin 
introduction  consisting  also  of  a  description  of  stage  setting 
and  of  advice  to  the  actors,  but  this  cannot  be  considered 
as  a  prologue. 

The  next  prologue  of  the  earlier  type  is  in  Jean  Bodel's 
"Jeu  de  Saint  Nicolas",  which  belongs  to  the  thirteenth  cen- 
tury or  is  perhaps  even  still  earlier. 

In  the  fourteenth  century,  with  the  exception  of  that 
of  the  Griselidis,  no  regular  prologues  are  found,  their  place 
being  taken  in  the  "Miracles  de  Notre  Dame"  by  sermons. 

The  fully  developed  type  of  the  prologue  is  found  in  the 
fifteenth  century.  A  few  examples  occur  also  in  the  begin- 
ning of  the  sixteenth  century.  The  greater  number  of 
the  sixteenth  century  mysteries,  however,  either  possess  no 
prologues  or  have  those  of  irregular  form. 

Of  the  two  secular  mysteries  of  the  fifteenth  century, 
"La  Destruction  de  Troie"  and  "Le  Siege  d'Orleans", 
the  former  alone  has  a  prologue  and  this  is  of  a  peculiar, 
half -allegorical  form. 

The  six  Provengal  mysteries  which  present  prologue 
forms  are  of  the  fourteenth  and  fifteenth  centuries.  These 
prologues  show  little  originality  and  except  for  their  rare- 
ness are  of  comparatively  little  interest. 


PART  I 

VERSIFICATION    AND    LANGUAGE. 


I. 

VERSIFICATION. 

The  results  given  in  this  work  are  from  a  study  of  the 
prologues  indicated  below.1  These  prologues  are  of  the 
regular  type  and  their  use  as  prologues  is  indisputable. 
The  other  irregular  and  doubtful  types  will  be  considered 
later. 

In  accepting  the  results  obtained,  due  consideration  should 
be  given  to  the  unreliability  of  the  texts  copied. 

Prologues  studied;  4,  8  (4),  9  (A,  B),  10,  12,  13,  (i,  2), 
14,  15  (3A,  B),  17,  18,  19  (lA,  B,  C,  D,  E,  2,  3,  4), 
20  (1-25),  25  (i,  2,  3),  26,  27,  28,  29  (i,  2,  3,  4),  31, 
32,  33  (i A,  B,  2,  3),  35,  36,  39  (A,  B),  40  (2),  48  (i,  2,  3), 
52,  54,  55  (iB,  2B,  3 A,  B),  56,  58,  59,  (2),  65,  66,  67, 
68,  72,  73,  74  (A,  B),  76  (i,  2A,  B,  3)  77. 

Forty  mysteries  with  ninety-two  prologues.  Total  num- 
ber of  lines,  7,063. 

I.      SYLLABIFICATION. 

Prologues  with  8-syllable  lines;  4,  8  (4),  10,  12,  13  (2), 
14,  15  (3A,  B),  17,  18,  19  (lA,  B,  C,  D,  E,  2,  3,  4), 
20  (1-25),  26,  27,  28,  29  (i,  2,  3,  4),  31,  32,  33  (lA,  B, 

1  In  citing  prologues,  as  19  (i  A,  B),  the  first  number  given  is 
the  number  of  the  mystery  in  the  table,  page  191,  the  second,  in 
parenthesis,  is  the  "journee"  (J),  and  the  letters  A,  B,  etc.  indicate 
the  prologue  in  the  same  "journee."  Where  no  "journee"  number 
is  given,  "journee"  one  is  meant. 


12  Versification  and  Language. 

2,  3).  35,  39  (iA,  B),  40  (2),  48  (2),  52,  54,  55  (iB,  2B, 
3A,  B),  56,  58,  59  (2),  65,  66,  67,  73,  74  (iB),  76  (2 A, 

B),  77- 

Prologues  with  lo-syllable  lines;    13  (i),  68,  72,  76  (i). 

Prologues  with  other  syllabification;  12-syllable,  9  (iB)  ; 
5-syllable,  74  (iA)  ;  10  and  8-syllable,  25  (i,  2,  3)  ;  36; 
10,  5  and  8-syllable,  48  (i,  3)  ;  8,  6  and  4-syllable,  9  (iA)  ; 
8  and  4-syllable,  76  (3). 

Summary;  8-syllable  in  78  prologues;  lo-syll.  in  4; 
12-syll.  in  i ;  10  and  8-syll.  in  4;  10,  5  and  8-syll.  in  2 ;  8, 
6  and  4-syll.  in  i ;  8  and  4-syll.  in  i. 

The  8-syll.  verse  is  found,  alone  or  in  combination,  in  all 
except  six  of  the  prologues.  From  its  structure  it  is  espe- 
cially fitted  to  the  simple  "rimes  plates"  narrative  prologue, 
consisting  in  general  of  the  plea  for  silence,  a  sermon,  the 
stereotyped  invocation  and  the  analysis  of  the  piece.  It  is 
found  however  quite  commonly  in  the  more  complicated 
strophic  forms,  as  for  example  in  the  ballads  of  [10] 
and  [36]. 

The  lo-syllable  verse  with  its  heavier  more  pompous  effect 
suits  better  the  ballads  and  the  more  poetical  subjects,  such 
as  praises  to  the  King,  Queen,  nobility,  clergy,  etc.  The 
most  of  the  authors  use  it  however  indiscriminately  with 
the  8-syll.  without  reference  to  the  subject  matter  treated. 
The  following  prologues  are  exceptions  to  this  latter  use, 
as  the  contrast  in  subject  matter  is  quite  clear: 

[25]  (i,  2,  3).  /(i),  lines  1-15  (8  syll.)  ;  Common  begin- 
ning consisting  of  salutation  to  Virgin.  16-57  (10  syll.)  ; 
Ballad  to  the  Prince,  Christ,  in  the  form  of  a  prayer  for  elo- 
quence, for  a  blessing  on  the  King  Francois  and  on  the  "cite" 
of  Puy.  58-104  (8  syll.)  ;  The  usual  plea  for  silence,  short 
sermon  and  analysis.  /  (2),  1-42  (10  syll.)  ;  Ballad  to 
God.  43-121  (8  syll.)  ;  Silence  and  analysis.  /  (3),  1-42 
(10  syll.);  Ballad  to  the  Virgin  upon  "L'advenement  de 
ton  glorieux  ymaige."  43-106  (8  syll.)  ;  Silence  and 
analysis. 


Versification  and  Language.  13 

[48]  (i,  3);  10,  8  and  5-syll.  In  the  first  stanzas  of 
(i)  and  (3),  the  author  philosophizes,  quoting  "Aristote", 
"Isodorus"  and  "Tulius",  and  in  this  uses  the  lo-syll.  verse 
but  changes  at  once  to  the  8-syll.  in  the  following  analysis 
and  plea  for  silence. 

[68]  ;  Entirely  lo-syll.  The  regular  subjects  are  treated, 
but  in  a  more  ambitious  manner  and  in  addition  there  are 
two  stanzas  addressed  directly  to  King  Rene  le  Bon,  the 
Queen,  the  Rector  of  the  University  and  the  lords. 

Examples  of  the  indiscriminate  use  of  the  lo-syll.  and 
8-syll.  verse  are  more  frequent. 

[13]  (i,  2)  ;  The  prologues  of  the  two  "journees"  have 
the  same  number  of  lines  in  the  stanzas,  the  same  rhyme 
order  and  the  ordinary  prologue  matter  (silence,  prayer 
for  help,  etc.)  but  J  (i)  is  lo-syll.  while  J  (2)  is  8-syll. 

[36]  ;  Exactly  opposed  to  [25]  both  as  to  form  and 
matter.  The  opening  ballad  to  God,  consisting  mainly  of 
an  appeal  for  silence,  is  in  8-syll.  verse,  followed  by  twelve 
lO-syll.  lines  requesting  silence  and  exhorting  prayer. 

[72]  ;  The  request  for  silence  and  an  exhortation  to 
remember  the  lesson  of  the  mystery  are  in  lo-syll.  lines, 
but  the  prologue  in  this  case  is  simply  the  end  of  a  lo-syll. 
speech  in  the  dialogued  introduction. 

[76]  ;  Consists  of  seventy-eight  lines  of  the  most  ordi- 
nary type  of  sermon  and  request  for  silence  but  is  written 
in  lo-syll.  lines. 

The  12-syll.  alexandrine  is  found  only  in  9  (iB),  and 
it  might  be  questioned  here  as  in  the  manuscript  it  is  written 
in  6-syll.  lines,  rhyming  simply  2  and  4,  6  and  8,  etc. 
Exception  is  made,  however,  for  lines  62,  65,  68,  69,  71 
where  the  12-syll.  line  is  found.  These  exceptions  and  the 
importance  given  to  the  rhyme  in  the  other  prologues  leads 
one  to  regard  the  6-syll.  line  as  the  work  of  the  copyist. 
The  entire  eighty-one  lines  are  given  up  to  a  sermon  to 
which  the  alexandrine  is  well  suited. 

The  5-syll.  is  fotmd  in  [74]  where  it  suits  well  the 
rather  light  humorous  prologue  peculiar  to  this  mystery 


14  Versification  and  Language. 

alone.1  It  forms  also  the  second  stanza  in  (i)  and  (3) 
of  [48],  where  it  lies  between  a  lo-syll.  and  8-syll.  stanza. 
Here  again  while  the  subject  matter  is  not  humorous  it 
is  philosophical  rather  than  religious.2 

In  9  (lA),  lines  of  8,  6  and  4-syllables  are  found 
mingled  without  system.  Four  lo-syll.  lines  (178-181) 
are  also  found  here  without  any  special  object. 

The  entire  prologue  of  198  lines,  (except  lines  1-5  and  30- 
32,  which  are  mutilated),  has  the  following  syllabification: 
lines  6-8  (6-syll.),  9  (4),  10-15  (6),  16  (8),  17-18  (7),  19- 
22  (8),  23-24  (5),  25  (4),  26  (8),  27-33  (4),  34  (8),  25-41 
(8),  42-44  (8),  45-51  (6),  52-53  (7),  54  (9),  55-56  (7),  57 
(8),  58-71  (6),  72  (9),  73-81  (6),  82-85  (8),  86  (6),  87 
(8),  88  (6),  89  (9),  90-92  (8),  93-^4  (4),  95  (8),  96-103 
(4),  104-105  (8),  106-107  (4),  108-132  (8),  133-140  (6), 
141-145  (4),  146-148  (8),  149  (4),  150-177  (8),  178-181 
(10),  182-192  (8). 

The  explanation  of  this  variety  of  metre  may  be,  as  is 
quite  probable  for  76  (3),  the  habit  which  writers  of  this 
period  had  of  mingling  different  metres.3 

The  most  probable  explanation  for  this  prologue,  how- 
ever, as  is  clearly  the  case  for  [25],  is  the  lack  of  poetical 
ability  on  the  part  of  the  writer. 

Quite  a  poetic  effect  is  obtained  in  76  (3),  by  seven  three- 
line  stanzas  arranged  as  to  syllabification  8,  8,  4;  8,  8,  4, 
etc.,  but  the  subject-matter  is  ordinary  (sermon,  silence, 
etc.),  and  this  arrangement  can  only  be  explained  as  a 
caprice  of  the  author,  especially,  as  after  line  21  he  changes 
in  the  middle  of  a  sentence  to  the  pure  8-syll.  verse.4 

The  syllabification,  with  the  notable  exception  of  [25], 
Notre  Dame  du  Puy,  was  done  with  considerable  care. 
Among  the  longer  prologues  the  following  are  the  better 
in  this  respect:  19,  33,  56,  10,  26,  68,  29,  17,  48,  76,  13,  20. 
The  poorer  ones  are :  25,  14,  67,  32,  58,  25,  65,  54,  66. 

'Vid.  pg.  127.  "Vid.  pg.  126. 

*  Cf .  A.  Tobler,  Vom  Franzosischen  Versbau,  pp.  10-16. 

4Vid.  pg.  128. 


Versification  and  Language.  15 

2.      ELISION  AND  HIATUS. 

Elision.  The  modern  rules  for  the  elision  of  final  mute 
e  held  good,  but  the  exceptions  were  very  numerous. 

The  following  three  conditions  of  the  question  are  to  be 
considered:  i.  Elision.  2.  Non-elision  with  hiatus.  3. 
Non-elision  without  hiatus. 

(i.)  Elision;  quils  4,  line  119,  qu'en  48  (i)  71,  na  10, 
26,  quon  10,  51,  qua  10,  108  and  56,  86,  quau  10,  262,  n'a 

19  (iA)  17,  m'ont  19  (4)   127,  etc.     Very  common. 

(2.)  Non-elision  with  hiatus;  i.  e  -f-  a;  que  a  (2  sylls.) 
67,  162,  ne  a  (2  syll.)  40,  22,  ne  ausy  (3  syll.)  9  (B)  70,  ne 
acquerre  (4  syll.)  19  (iA)  41.  2.  e-\-e;  ne  entendre  (4 
syll-)  33  (0  9&>  le  euvre  (3  syll.)  56,  94,  ne  encontre  (4 
syll.)  67,  184.  3.  e-\-i;  que  il  (2  syll.)  56,  lines  26,  14, 
38;  [26]  line  74;  [9]  (B),54.  4-  *  +  o;  que  on  (2  syll.) 
56,  98,  que  oncques  (3  syll.)  14,  164.  5.  e  -f-  w;  que  uns  (2 

syll.)  56,  35- 

(3.)  Non-elision  without  hiatus;  i.  e  -\-  a;  le  avoit  13, 
(i),  3,  que  au  jourduy,  13  (2)  10,  que  aucunement  33 
(iA)  45,  que  ainsi  33  (2)  187,  que  aucuns  33  (3)  80,  lors 
que  au  76  (i)  40,  que  aujourduy  76  (3)  117,  ne  a  10,  26 
que  a  10,  257.  2.  e  -{-  ^;  que  entretant  76  (3)  119,  que  en 
10,  35,  le  eurent  20  (2),  9,  se  esveillerent  73,  115,  3. 
e  -\-  o;  que  on  13,  (i)  9,  33  (iA),  87  and  10,  92,  de  oil 
10,  62,  que  oncques  76  (2B)  14,  le  offertoire  20  (5)  2, 
te  orgoliras  67,  45,  canque  on  56,  39.  4.  £  -|-w;  le  ultime 

20  (5)  7- 

Different  treatment  of  a  vowel  combination  in  the  same 
mystery;  [26]  qu'il  25,  que  il  (2  syll.)  74,  [10]  quon  51, 
que  on  92;  qua  108,  que  a  257;  de  oil  62,  lueil  282;  na 
40  and  26,  ne  a  26;  [20]  de  herode  (5)  3  and  6,  dherode 
(7)  55  [31!  de  Arimachie  27,  d'Arimachie  16. 

Thus  not  only  are  there  examples  where  the  final  mute 
e  is  not  elided  before  a  vowel  (que  aujourduy,  que  en), 
but  also  examples  of  hiatus  in  addition  (que  il)  (2  syll.), 
que  oncques  (3  syll.),  etc.  The  same  combination  of  vowels 
may  be  found  in  one  case  with  elision;  in  another,  non- 


1 6  Versification  and  Language. 

elision  and  hiatus;  in  still  another,  non-elision  without 
hiatus.  In  the  same  mystery  a  vowel  combination  may  be 
found  written  differently. 

Hiatus.  Aside  from  the  question  of  hiatus  in  the  place 
of  elision,  other  cases  are  plentiful  where  hiatus  is  per- 
mitted contrary  to  the  present  rules.  The  same  is  true  of 
non-hiatus.  Examples  of  these  cases  as  follows: 

Hiatus  (a)  e-\-a;  quarante  ans  (4syll.)  14,  198,  garde 
auront  (4  syll.)  33,  (2),  160,  pense  aux  (3  syll.)  76  (i) 
20,  Barbe  ayant  (4  syll.)  4,  27,  branche  avoit  (4  syll.)  10, 
130,  mirre  avec  (4  syll.)  73,  96,  vueille  a  (3  syll.),  32,  120, 
prendre  a  (3  syll.)  14,  167,  qu'aultre  aide  (4  syll.),  19 
(lA)  45,  14,  17.  (b)  e  +  e;  lautre  et  (3  syll.),  33  (3) 
119,  cinquante  et  (4  syll.)  33  (3)  147,  ame  en  (3  syll.)  4, 
45,  nue  et  (3  syll.)  4,  107,  homme  est  (3  syll.)  4,  no,  pere 
et  (3  syll.)  58,  i,  Pierre  et  (3  syll.)  54,  17,  faire  embesonge 
(6  syll.)  58,  118,  bonne  et  (3  syll.)  54,  26,  noble  et  (3  syll.) 
12  (B)  7,  mistere  en  (4  syll.)  68,  4,  cure  est  (3  syll.)  68, 
30,  vie  et  (3  syll.)  52,  4,  exemple  et  (4  syll.)  52,  62,  royne 
et  (3  syll.)  73,  11,  vie  et  (3  syll.)  14,  53,  1'eaue  en  (3 
syll.),  19  (3)  77.  (c)  e  +  i;  comme  ilz  (3  syll.)  33  (3) 
143,  gauche  ilz  (3  syll.)  33  (3)  144;  comme  il  (3  syll.) 
33  (3)  169,  1'ange  ot  (3  syll.)  73,  113. 

Non-hiatus,  (a)  a  -f-  a;  prescha  au  19  (3)  64.  (b) 
e -\- a;  ce  au  33  (lA)  34,  pource  apres  33  (2)  178,  ne 
aussi  10,  27,  se  avons  [20]  (7)  i,  and  (6)  i,  precie  a  32,  74, 
ie  aussi  14,  42,  (c)  e  -j-  e;  loue  en  14,  44,  loue  et,  14,  178. 
(d)  e-\-i;  demourerent  invincibles  67,  95.  (e)  i  -\-  a;  qui 
a  73,  79.  (f )  i  -j-  e;  qui  est  67,  2  and  24,  qui  en  67,  140 
and  289,  qui  est  14,  39  and  55,  qui  est  68,  2  and  44,  y 
estoient  33  (3)  108.  (g)  u  +  i;  ou  il  26,  58.  (h) 
es  -{-vow;  tesmes  encloses  27,  89,  pechiez  et  33  (lA)  81, 
jusques  a  73,  143,  certes  Adam  18,  48,  prophetes  a  32,  99, 
deables  orent  32,  107,  costes  Adam  32,  29;  terre  angles  et 
19  (iB)  9. 

Different  treatment  in  same  mystery  of  a  vowel  com- 
bination; [73]  fortune  et  10,  royne  et  (3  syll.),  n  ;  [14] 


Versification  and  Language.  17 

loue  en  44,  mortalite  et  (3  syll.)  127,  [67]  mistere  et  50, 
mistere  en  (4  syll.)  4,  puisse  estre  36,  cure  est  (3  syll.) 
30;  [54]  Ihernite  en  39,  bonne  et  (3  syll.)  26;  [18]  certes 
Adam  48,  sires  et  (3  syll.)  45;  [19]  (iB)  terre,  angles  et 
9,  tristes  et  (3  syll.)  (lA),  57. 

Thus  one  finds  mute  e  final,  in  words  of  more  than  one 
syllable  followed  by  a  word  beginning  with  a  vowel,  counted 
as  a  syllable.  There  are  many  examples  also  of  the  other 
vowels,  a,  e,  i,  u  -f-  vowel,  counting  only  as  one  syllable. 
The  ending,  es  +  vowel,  is  most  commonly  counted  as  a 
separate  syllable,  but  the  exceptions  are  numerous.  The 
use  of  mute  h  was  still 'unfixed,  as  examples  are  still  found 
of  its  absence  in  words  where  it  is  found  later,  as  1'onneur 
72,  9,  lystore  76,  6,  1'istoire,  72,  109,  etc.  Non-elision  of 
mute  e  preceding  it  is  frequent;  de  herode  20  (5)  3  and  6, 
de  huy  40,  (2)  9,  de  humanite,  que  homme  27,  41.  It  per- 
mits non-hiatus;  deste  heure  76  (26),  121,  genre  humain 
76  (i)  26,  homme  humain  76  (2A)  60,  19  (lA)  2  and  171, 
nature  humain  19  (lA)  6,  19  (3)  20.  Aspirate  h  is  used 
in  words  to  indicate  hiatus ;  prehiminance  72,  28,  climat 
habonde  72,  85,  etc.  In  [72]  together  with  the  forms 
Tistoire  and  1'onneur  is  found  the  incorrect  form  1'  ault, 
line  42. 

In  the  case  of  non-hiatus  sometimes  a  diphthong  is  car- 
ried over  to  the  next  word  (jai  icy  14,  37;  ou  il  26,  58). 
In  four  different  mysteries,  qui  -}-  vowel  is  treated  as  one 
syllable  (qui  est,  qui  en,  qui  a). 

Many  cases  of  possible  hiatus  cannot  be  determined  on 
account  of  the  varying  syllable  values. 

3.   VARYING  SYLLABLE  VALUES. 

aa.  Usually  counted  as  one  syllable.  Examples:  aage 
19  (2)  41,  servaage  18,  53;  Exception:  Balaam  (3  syll.) 
13,  22.  ai.  Usually  i  syll.  Ex.  faiz  19  (2)  6,  fais  27,  75 ; 
Exc.  chair  27,  44;  fais  27,  58.  ea.  i  syll.  Ex.  deable 
19,  183,  deable  68,  81  and  132,  diable  33  (i)  201;  Exc. 
beaulte  (3  syll.)  10,  112.  ee(s).  i  syll.  Ex.  vees  48,  117 


1 8  Versification  and  Language. 

and  119;   Exc.  seez  17,  16,  seez  39  (B)  6,  veez  58,  87  and 
135.    et.  i  syll.    Ex.  meismes  17,  112;  Exc.  seit  31,  15.    eoi. 

1  syll.     ZLr.  veoir  19  (3)  155,  veoirs,  68,  32,  veoir  33,  131, 
veoirs  68,  32,  veoir  35,  46  and  223;  Exc.  veoir  12,  27;    18, 
19;  58,  66;   12,  27,  veoit  67,  286,  veoyent  33,  97.    eu.  i  syll. 
Ex.  eu  19   (3)    116,  veu  19   (3)    121;    Exc.  men  12,  26. 
«a.  i  syll.     Ex.  biaus  56,  6;   £#c.  merciant  14,  186.     ie. 
(interior  of  word)  i  syll.     Ex.  griefs  19  (i,  A)  in,  brief 

19  (2)  10,  (3)  i  and  17,  ciel  19  (2)  9,  Gabriel  28,  9,  vien 
19,  86,  appartient  19,  175,  vierge  17,  4,  traictier  19  (5)  13, 
entiere  19  (3)  2,  hier  19  (3)  6,  quartier  10,  151,  prierons 
14,  2,  her   (hier)   33   (2)   61,  lies  56,  27,  cognoissiez  48, 
114,  piez  32,  73,  puissies  58,  46,  faciez  58,  154;  Exc.  Diex 
18,  20,  Gabriel  73,  16,  ciel  27,  15,  inodebience  19   (3)  6, 
pharisiens  (19)  (3)  109,  sapience  68,  56,  supplier  19  (i,  A) 
40  and  43,  dernier  14,  194,  hier  33  (2)  36,  publier  33  (2) 
180,  pieds  14,  172.     ie  (e  mute  and  final),  i  syll.     Ex.  vie 
39,  1 6  and  20,  Marie  58,  n,  partie  58,  23;  Exc.  partie  54, 
30,  Marie  20  (i)  4,  (2),  2,  prie  15,  46  and  55,  vie  67,  178. 
ie  (e  "aigu"  and  final),    i  syll.    Ex.  pechie  17,  23  and  116, 
pechie    19,    (lA)    29,  couchie    32,  68,    jugie    20    (21)    6, 
pechie  67,  169;   Exc.  None.     ieu.  i  syll.     Ex.  dieu  17,  39 
and   105,  dieu  19   (lA)   4  and  27,  mieulx  19   (iA)    122, 
mieulx  13,  10,  plusieurs  76,  55 ;   Exc.  melodieuses  17,  126, 
labourieux  48,  43,  glorieux  68,  62,  ambicieux  76,  37,  lieux 
4,  70.     io.  i  syll.     Ex.  puissions  19,  213,  puissions  68,  41, 
vo'ulions  73,  37;   Exc.  presumpcion  19  (iA)   126  and  146, 
vision  19  (iA)  214.     oi.  i-syll.     Ex.  trois  roys  19  (2)   14, 
doint  14,  ii ;    soit  19  (5)   15,  droit  14,  79,  foy  19  (iA) 
53,  roys,  73,  56,  49  and  68,  Roy  26,  17  and  27;   Exc.  Roy 

18,  7  and  39,  doint  14,  15  and  4,  droit  32,  14,  oyr  19  (2) 
3,  oyr  48,  7.     oient  (verb  ending),  equal  use  as  i  syll.  and 

2  syll.     Ex.  i  syll.  soient  76   (2)   63,  soyent  76   (3)   92, 
vouloient  26,  65,  estoient  32,  100  and  102,  avoient  33,  177, 
estoient  33  (3),  96,  100,  103  and  190;    Exc.  demandoient 

19,  (iA)    74,   soient   76    (2B)    136,   estoient    io,   61,   95 
and  129,  estoyent  67,  95  and  275.     ou.  i  syll.     Ex.  ouyr  27, 
123,  ouy  (p.p.)  33  (3)  58,  aoure  73,  13;  Exc.  ouyt  14,  144. 


Versification  and  Language.  19 

ui.  i  syll.    Ex.  luy  19  (4)  6,  suys,  10,  186,  luy  10,  175; 
Exc.  poursuyr  19  (2)  60,  luy  14,  35. 

Three  words  deserve  special  mention;  Juifz,  Jehan  and 
esperit.  In  Juifs  the  ui  contrary  to  the  general  rule,  counts 
more  frequently  as  2  syll.  Ex.  (2  syll.)  Juifz  19  (3)  104; 
33  (2)  i,  16,  166  and  191,  Juifs  35,  2,  Juidz  20  (13)  4, 
(15)  3;  £*c.  (i  syll.)  Juifz  76,  9;  33  (3)  79  and  95. 

Jehan  although  written  with  the  h,  signifying  usually 
hiatus,  counts  i  syll.  ordinarily.  Ex.  26,  114;  32,  100;  33 
(2)  152,  (3)  160;  20  (7)  9;  Exc.  (2  syll.)  19  (2)  65;  4, 
91;  26,  115;  33  (3)  150.  Written  also  Jean. 

Esperit.  Written  also  esprit  counts  as  two  syll.  Ex. 
esperit  58,  2,  esperitz  33  (2)  141  ;  Exc.  lesperit  33  (i)  202. 

From  the  examples  given  above,  it  may  be  noted  that  the 
"ieu"  counts  in  general  as  one  syllable  in  the  short  words 
and  as  two  in  the  long  words.  "Ion"  counts  as  one  syllable 
in  the  endings  of  verbs  and  as  two  in  nouns.  No  exceptions 
were  found  to  "ie"  final  counting  as  one  syllable. 

The  general  tendency  of  the  best  writers  was  to  count 
these  different  combinations  of  vowels  as  one  syllable. 
Different  syllable-values  in  same  mystery: 

[18]  Diex  (i  syll.)  56,  Dieu  (i  syll.)  49,  Diex  (2  syll.) 
20.  [26]  Jehan  (i  syll.)  114,  (2  syll.)  115.  [14]  doint 
(i  syll.)  n,  (2  syll.)  4  and  15;  Dieu  (i  syll.)  19,  153  and 
155,  (2  syll.)  22  and  207.  [19]  s'arguerons  (4  syll.) 
(lA)  177,  saluerons  (3  syll.)  (4)  10;  mieuls,  (i  syll.) 
(lA)  122,  glorieulx  (3  syll.)  (3)  188.  [27]  fais  (i  syll.), 
75,  (2  syll.)  58.  [33]  hyer  (i  syll.)  (3)  4  and  35,  her  (i 
syll.)  (2)  61,  hier  (2  syll.)  (2)  36;  bien  (i  syll.)  130,  rien 
(2  syll.)  131;  Jehan  (i  syll.)  160,  (2  syll.)  150.  [76] 
dieu  (i  syll.)  (2A),  19  and  33,  (2  syll.)  (2)  13.  [66]  rien 
(i  syll.)  31,  (2  syll.)  45.  [10]  quartier  (2  syll.)  151,  (3 

syll.)  153- 

The  great  liberty  used  in  the  composition  of  the  prologues 
can  be  judged  from  these  numerous  exceptions  cited  above 
both  for  hiatus  and  varying  syllable  values.  Definite 
analysis  of  many  of  the  lines  cannot  be  made  because  they 


20  Versification  and  Language. 

contain  at  the  same  time  a  case  of  possible  hiatus  and  a 
vowel  combination  with  varying  syllable  value.  An 
example  of  this  kind  is  line  39  of  [19]  (3)  "pour  mondifier 
nostre  ordure."  To  give  the  required  8-syllable  line,  "mon- 
difier" must  count  as  4-syll.  with  non-hiatus  of  "nostre 
ordure,"  or  count  as  3-syll.  with  hiatus.  The  usage  of  the 
author  allows  both  possibilities,  as  preschier  (2  syll.)  (4) 
10,  supplier  (3  syll.)  (lA)  40  and  43;  qu'aultre  aide 
(4  syll.)  (lA)  45,  faire  entendre  (4  syll.)  (3)  25. 

4.      RHYME. 

Masculine  rhymes,  4338.  Feminine,  2704.  Twenty-one 
line  endings  are  missing  and  cannot  be  reconstructed. 

Masculine  and  feminine  rhymes  were  used  without  regard 
to  the  modern  rule  of  alternation. 

The  following  prologues  have  more  feminine  than  mas- 
culine rhymes:  [26]  Mas.  48,  Fern.  90;  [13]  (2),  M.  4, 
F.  8;  [39]  (A),  M.  59,  F.  74;  [39]  (B),  M.  12,  F.  28; 
[25]  (i),  M.  29,  F.  75;  [55]  (i),  M.  o,  F.  8;  (2B),  M. 
o,  F.  8;  (3B),  M.o,  F.8. 

In  a  few  prologues,  masculine  and  feminine  rhymes  are 
employed  with  a  definite  aim  in  view.  In  [17]  there  are  ten 
eight  line  stanzas,  masculine  and  feminine  rhymes  alter- 
nating ;  nine  stanzas  entirely  masculine ;  two  stanzas  entirely 
feminine.  In  [36],  there  are  three  eight  line  stanzas,  (m  f 
m  f  f  m  f  m)  with  a  four  line  envoi,  (f  m  f  m). 

In  [25],  Notre  Dame  du  Puy,  the  poorest  of  all  the  pro- 
logues in  regard  to  syllabification,  there  are  the  following 
distinctions  for  masculine  and  feminine  rhymes :  J  ( i )  ; 
Three  twelve  line  stanzas  and  six  line  envoi,  feminine.  J 
(2)  ;  Three  twelve  line  stanzas  and  six  line  envoi,  mascu- 
line. J  (3)  ;  Three  twelve  line  stanzas  with  the  first  eight 
lines  masculine,  the  last  four  feminine,  and  a  six  line  envoi 
with  the  first  two  lines  masculine,  the  last  four  feminine. 

In  the  remainder  of  the  prologues  the  masculine  and 
feminine  were  intermingled,  the  order  being  determined 
only  by  the  necessities  of  rhyme. 


Versification  and  Language.  21 

The  larger  part  of  the  prologues,  the  same  as  the  mys- 
teries, are  written  in  "rimes  plates."  In  the  ballads  and 
other  strophic  forms  the  "rimes  melees"  are  used. 

"Rimes  plates."  9  (B),  12,  14,  15  (3A,  B),  18,  19,  (iB, 
C,  D,  2),  26,  28,  29  (i,  3,  4),  31,  32,  33  (i  A,  B,  2,  3), 
40  (2),  52,  54,  56,  65,  73,  76  (2B),  77.  Twenty-nine 
prologues. 

"Rimes  melees."  4,  10,  13  (i,  2),  17,  20  (1-25)  29  (2), 
25,  36,  39  (AB),  48  (i,  2,  3),  55  (iB,  2B,  3A,  B)  59 
(2),  66,  74  (A,  B).  Forty-seven  prologues.  (Twenty- 
five  of  these  belong  to  one  mystery,  [20] ,  and  are  very  short.) 

The  following  prologues  are  composed  of  both  "rimes 
plates"  and  "rimes  melees:1  [8]  (4),  3=13-177,  b  — 
1-12;  [9]  (A),  a  and  b  mixed;  [19]  ( i  A),  a  —  142-215, 
b=  1-141,  (lE),  a  =1-20,  b  =  21-23,  (3).  a  =13-198, 
b  =  1-12,  (4),  a=  13-177,  b=i-i2;  [25]  (i),  a  =  1-15 
and  58-104,  b  =  16-57,  (2),  3  =  43-121,  b  =  1-42,  (3), 
a  =  43-106,  b  =  1-42  ;  [27] ,  a  =  87-124,  b  =  1-86 ;  [58] 
3  =  21-163,  b=i-2o;  [67],  3=229-382,  b  (and  a)  =  i- 
228;  [68],  a  =12-43  and  60-201,  b=i-u  and  44-59; 
[76]  (i),  a  =  62-75,  b  =  1-6 1  and  76-78,  (2  A),  a  =  1-115 
except  b  =  19-22  and  111-113,  (3),  a  =  85-117,  b  =  1-84 
and  117-120.  Sixteen  prologues. 

In  these  mixed  prologues  the  larger  part  of  the  prologue 
is  composed  of  "rimes  plates." 

A  common  use  of  "rimes  croisees"  is  to  end  a  prologue 
or  one  of  its  main  divisions.  In  [76]  (i),  75-78;  (2A), 
110-113;  (3),  117-120  (a  b  3  b),  they  follow  "rimes 
plates"  3nd  end  prologue.  In  39  (B),  37-40  and  in  [35], 
222-225  they  follow  strophic  construction  and  end  prologue. 
In  [76]  (2A),  19-22,  following  "rimes  plates"  and .  in 
[36],  25-28,  following  strophic  construction,  they  end  a 
division  of  the  prologue.  In  19  (lE),  21-23,  the  rhyme- 
order  (abba)  follows  "rimes  plates"  and  ends  prologue. 

In  general,  the  "rimes  plates"  correspond  in  their  use  to 
the  eight  syllable  verse,  being  found  principally  in  the 
simple  narr3tive.  The  "rimes  melees"  are  used  in  the 
more  ambitious  poetic  efforts. 

1  In  this  list  "a"   indicates   "rimes  plates,"   "b"    "rimes  melees." 


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Versification  and  Language. 

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24  Versification  and  Language. 

STROPHIC  CONSTRUCTION  (Summary). 
Length  of  stanzas. 

The  thirteen  line  stanza  is  found  in  one  prologue.  Twelve 
line,  in  eleven  mysteries  and  seventeen  prologues.  Eleven 
line,  in  two  mysteries.  Ten  line,  in  two  mysteries.  Nine 
line,  in  two  mysteries  and  three  prologues.  Eight  line,  in 
twelve  mysteries  and  fourteen  prologues.  Six  line,  in  two 
mysteries  and  four  prologues.  Five  line,  in  one  mystery. 
Four  line,  in  seven  mysteries  and  eight  prologues.  Three 
line,  in  one  mystery. 

Order  of  rhymes. 

In  the  twelve  line  stanza  the  rhyme-order  (aabaabb 
b  c  b  b  c)  is  most  common,  being  found  in  four  mysteries 
and  seven  prologues,  (aabaabbbabba)  and  (aba 
bbcbccdcd)  are  each  found  in  two  mysteries.  Eleven 
other  arrangements  are  found  in  different  mysteries. 

In  the  eight  line  stanza,  (ababbcbc)  is  most  common, 
being  found  in  twelve  mysteries  and  fourteen  prologues, 
(abaabbcc)  is  found  in  two  mysteries  and  three  pro- 
logues. Three  other  single  arrangements  are  found.  The 
four  line  is  (a  b  a  b). 

The  twelve  and  eight  line  stanzas  are  most  common,  and 
used  with  about  the  same  frequency. 

The  six  and  five  line  are  used  only  as  envois. 

The  four  line,  (a  b  a  b),  as  indicated  under  the  subject  of 
"rimes  croisees,"  is  commonly  found  as  an  ending  to  the 
prologue  or  one  of  its  main  divisions.  ^ 

The  following  ballads  are  found:  [10]  72-94  (2  lines 
gone);  [25]  (i)  16-57,  (2)  1-42  (3)  1-42;  [36]  1-28. 
[10]  and  [36]  have  8  line,  8-syllable  stanzas,  [25]  (i,  2,  3,) 
have  12  line,  lo-syllable  stanzas. 

In  i  (iB)  and  76  (iA)  are  also  found  two  ballads  used 
as  prologues. 


Versification  and  Language. 


Rhyme-words. 

The  "rimes  riches"  are  very  common.  The  "rimes 
pauvres"  are  treated  later  under  the  subject  of  "Lan- 
guage." Examples  of  grammatical,  leonine  and  broken 
rhymes  are  not  found.  The  legitimate  use  of  rhymes 
formed  of  the  same  word  but  with  different  meaning  is 
found  often.  The  following  same-word  rhymes,  with  the 
same  meaning,  are  found : 


Same-word  rhymes; 
[14], 


[2]     (17),       4-7- 

[31],  9-10. 
[32],  23-24. 
[32],  25-27. 

[54],     63-64. 

Rimes  equivoques; 
[10],  291-294. 


Je  nasquis  du  ventre  ma  mere 
Tout  nud  et  si  je  navois  riens, 
Et  tout  nud  sans  emporter  riens, 
Men  iray  apres  ceste  vie. 

et  pobres,  f aisant  leur  povoir 
de  Jesus  surprendre  en  paroles, 
mais  par  ses  belles  paroles 
leur  rendoit  la  solution. 

Enfer  seit  mis  de  cele  part, 
Es  mansions  de  1'altre  part, 

Ipse  dixit  et  facta  sunt, 
Mandavit  et  creata  sunt. 

Puis  fist  Adam  d'un  pou  de  terre 
Pour  ce,  qui  savoit  bien  qu'en  terre, 
Retourneroit,  et  puis  le  mist 

Son  messager  est  devant  luy, 
Qui  fait  les  messages  pour  luy. 


Et  puys  a  la  perseverance 
Proceder,  petit  a  petit, 
Et  je  croy  que  qui  bien  commence, 
La  fin  vient  a  son  appetit. 


26  Versification  and  Language. 

[18],  28-30.         Puis  fist  le  soleil  et  la  lune, 

Les  planectes,  et  nomma  Yune 
Mars  et  Venus,  1'autre  Mercure, 

62-64.         Vierge  conceut,  vierge  enfanta, 
La  mere  qui  tel  enfant  a 
Sans  corrupcion,  sans  detresse 

[19]  (  i  A),  79-80.         Iceulx  en  si  desplaisanf  clos 
par  rigueur  de  justice  enclos, 

(iB),       2-4.         devotes  gens  qui  attendez 
a  oyr  chose  salutaire, 
veillez  vous  pour  vo  salut  taire 

9-10.         du  ciel,  terre,  angles  et  humains 
en  brief  car  cecy,  c'est  du  mains 

(iD),  16-17.         Seth  nomme,  par  son  propre  nom, 
Trespreudomme  et  de  bon  renom 

(lE),       6-7.         a  ce  que  nous  avons  a  faire. 
Soufftce  vostre  doulx  affaire 

(2),     31-33.         et  mena  1'enffant  et  sa  mere, 

doubtans  ceste  entreprin^  amere 
que  le  fel  Herode  encouru, 

(3),  193-194.        et  luy  au  sepulcr^  posant 

atant  nous  serons  repposant. 

[19]  (4),  167-169.        je  pry  Dieu  qu'il  veille  conduire 
tous  nos  entendemens,  affin 
que  nous  la  puissons  traire  a  fin 

[26],  7-8.         De  Paradis  qui  est  sa  mere, 

Qui  ot  au  cuer  douleur  amere 


23~25-         Qui  b°n  niaistre  sers,  bon  loier  atent. 
Le  doulz  Jhesucrist  ama  tant 
Son  peuple,  qu'il  se  mist  a  mort, 


Versification  and  Language.  27 

[26] ,         107-108.         La  Vierge  pucelle,  sa  mere, 

Au  cuer  en  ot  angoisse  amere. 

[29]  (4),  168-190.         Verrez  comme  Dieu  le  promist 
A  ses  apostles  et  amis, 
Qu'en  sa  gloire  avec  lui  a  mis. 

[35],         144-147.         Advint  que  ce  Roy  oyt  dire 

Que  les  moines,  par  souvent  lire, 
Avoient  des  paiens  tourne 
Crestiens,  dont  fut  si  plain  d'ire 

[65],         104-106.         nonques  beste  dyabolicque 
ne  le  surmonta  en  pechie 
qui  devers  dieu  lait  empeschie 

[67],         112-114.         our  dissons  est  il  nul  que  de  ire 
soit  entache  nullemant, 
helas !  il  ne  le  f  aut  pas  dire 

In  the  prologues  to  the  mysteries  the  authors  do  not  seem 
to  seek  the  fantastic  rhyme  effects  so  common  to  the  Middle 
Ages.  The  examples  given  above  seem  the  result  of  chance 
or  necessity  rather  than  intention. 

The  intercalation  of  rhymeless  lines  in  the  prologues  is 
frequent.  In  some  rare  cases  this  may  be  explained  by  text 
mutilation  or  errors  in  copying,  but  in  most  cases  it  is  the 
fault  of  the  writer,  as  in  the  following  examples : 

Single  lines; 

[14],  63-67.         Comme  dessus  la  terre 

Generallement  nous  avons  guerre 
Et  pillerie  qui  ne  fine, 
Maladie,  mortalitez, 
Avecques  plusieurs  adversitez 

203-207.         Pour  ce  vous  prie  mes  cheres, 

Des  moindres  jusques  aux  meres, 
Que  vous  prenez  trestous  exemple; 
Je  ne  vueil  cy  long  sermon  faire, 
Pour  dieu  plaise  vous  taire 


28  Versification  and  Language. 

[52],  1-5.         Or  faittes  pais  vous  aultres  tous, 

Que  pais,  joye,  lyesse  et  bon  jours 
Soit  donne  a  trestous  vous, 
Sainte,  bonne  vie  et  grace, 
Et  de  bien  vivre  a  tous  espace. 

25-29.         Qui  luy  va  tres  bien  declarer 
La  foy  cristienne,  et  monstrer 
Par  la  inspiracion  divine, 
A  Dieu  se  volyst  retourner 
Et  briefmant  se  fist  batier 

[77]>  3I-35-         La  feste  volunt  commancer, 

Nous  n'avons  cure  de  tarder ; 
Qui  si  trovera  je  le  don. 
Je  ne  vous  veulx  plus  detenir, 
Je  veulx  marive  icy  finir. 

Other  examples: 

[20]  (n),  1-8.  Rhyme-words;  choisir,  lepreux,  obtenir, 
tresheurex,  samaritaine,  affablement,  tresjoeux,  bonement, 
[66],  17-23:  jourdhuy,  esnuy,  I'avons,  premier,  verres, 
forcenes,  tuer. 

[74]  (A),  1-9;  amour,  diets,  valour,  redis,  rois,  reduits, 
fois,  froidure,  redis  (possibly,  error  of  copyist,  as  entire  nine 
lines  are  rather  disconnected  in  meaning). 

Rhymeless-pairs; 

[14],        128-133;         Et  pour  plus  le  desconforter 

Vindrent  un  jour  luy  rapporter 
Les  nouvelles,  quatre  messagers, 
Comment  ses  biens  ses  heritages, 
Toutes  ses  brebis  et  ses  veaux, 
Ses  asnesses  et  ses  chameaux, 

[19]  (4),  134-139.         Or  viens  a  1'  eposicion  ; 
Appres  la  dure  passion 
que  j'ay  enduree  sur  may, 
j'ay  fait  ma  resurrection, 
et  encore  suis  avec  toy, 
ressuscite  suis,  et  le  croy, 


Versification  and  Language.  29 

[52],  21-26.         Pour  vray  introduction 

Des  cristiens,  promehu  a  devocion, 
Et  puis  apres  par  le  voloir 
Y  enstigacion  dung  religieux 
Qui  luy  va  tres  bien  declarer 
La  foy  cristienne,  et  monstrer 

[77]'  6-1 1.         De  la  passion  de  Jhesu  Crist, 

Si  comme  nous  trovons  en  escript, 
Pour  le  pechies  du  premier  jour 
De  adam  que  mangat  la  pome, 
Ant  le  monde  juge  a  mors. 
Mes  le  sire  de  grant  confort. 

5-      OVERFLOW   VERSE. 

Very  common,  in  some  cases  extending  over  several 
lines.  Considerable  latitude  must  be  given  in  deciding  cases 
of  this  kind,  however,  because  the  flowing  narrative  style 
of  the  prologue  permits  considerable  irregularity  in  this 
regard  without  being  affected  in  the  same  manner  as  would 
be  a  more  poetical  style  of  composition. 

Examples: 

[10],         138-141.         Vois  ung  bel  escusson  pendant 
Au  plus  hault  escu,  concordant 
Entour,  fors  que  la  bordure 
Estoit  de  gueulles  ou  dargent 

155-158.         Mais  ne  autmoins  tresbien  je  scay 
Que  au  meillieu  avoit  ung  lyon 
De  fable,  pource  me  pensay 
Dy  mettre  mon  intention. 

[19]  (2),         4-7.         en  la  journee  precedente, 

vous  fut  une  grant  part  monstree 
des  faiz  Jhesu,  et  a  1'entree 
vous  feismes  ung  proces  moral 


30  Versification  and  Language. 

[20]  (4),         2-8.        voires  ce  jour  appertement 
Marie  Ihumble  tresorjere 
du  ciel,  enfanter  promptement 
Jhesus,  demorant  sainctement 
vierge,  et  voires  chascun  bergier 
oflfrir  beau  dons,  et  sequament 
les  roigz  bethleen  approchier. 

[29]  (4),     92-94.        Ve  la  le  theume  devise 

En  trois  pars ;  quant  a  la  premiere 
Nous  disons  en  ceste  maniere 

[32],  25-29.         Puis  fist  Adam  d'un  pou  de  terre 

Pour  ce  qui  savoit  bien  qu'en  terre 
Retourneroit,  et  puis  le  mist 
En  paradis,  et  puis  refist 
Eve  d'une  dez  costes  Adam, 

[40],  19-22.         Puis  fonda  le  noble  hospital 

De  Mont  Jou ;  au  monde  n'a  tal 
Plus  necessaire  ne  mieulx  faisant 
A  riche  ne  a  pouvre  passant. 

[56],  40-43.         — "Vilains,  je  te  ferai  larder 

S'il  ne  monteploi  et  pourgarde 
Mon  tresor;  je  li  met  en  garde 
Pour  ti  sousprendre  a  occoison." 

[67],         234-237.         avoit  este  en  sa  jeunesse 
senechal  de  lempereur 
de  Romme,  et  des  senateurs 
estoit  de  tous  ame  tres  bien. 

332-338.         puis  apres  fit  le  corps  geter 

en  chambres  coyes,  mes  reveller 
dieu  fit  le  corps  a  une  femme 
la  nuyt  apres,  qui  Lucianne 
avoit  non,  et  la  nuyt  apres 
lensevelit,  tout  a  plus  pres 
des  apoustres  du  sepulcre. 


Versification  and  Language.  31 

[73],         109-112.         Et  leur  dist  que  pas  ne  r'alassent 
Par  Herode,  mes  s'en  alassent 
Par  autre  voie,  car  morir 
Les  feroit  sans  point  alentir. 

[76],  34~39-         celui  hault  dieu  qui  transcende  les 

cieulx 

et  se  loga  en  une  salle  monde 
pure  et  nette,  le  ventre  precieux 
de  marie ;  mais  les  ambicieux 
juifz,    efrenez,   pour   lesquelz    chair 

humaine 
il  avoit  prins,  oyans  sa  voix  haultaine, 

49-51.         reallement  et  de  lors  en  chassa 

les  venditeurs ;  adoncques  commenca 
chascun  di  ceulx  contre  luymurmurer 

(26),  22-24.  il  ne  daigna  crier  mercy 
a  dieu;  mais  obstinacion 
le  mena  a  dampnacion 

(3),     94-97.         aux  vers  dapres  quil  nous  bailla 
cest  disrumpamus  vincula 
et  cetera.     Cela  veult  dire 
que  dieu,  nostre  souverain  sire, 

Other  similar  passages  are  found  in:  [56]  56,  68,  92; 
[17]  98;  [18]  37,  76;  [73]  87,  145;  [26]  24,  72;  [32] 
47;  [19]  (iC)  15,  (2)  47,  (3)  167,  (4)  49;  [27]  120; 
[13]  CO  9;  [33]  (iA)  189,  (2)  129,  (3)  103;  [76]  (3) 
54,  101;  [48]  (i)  52;  [59]  (2)  i;  [20]  (3)  i,  8,  (5) 
5,  (6)  4,  (7)  4,  6,  (9)  8,  n,  (16)  5,  (21)  2;  [15]  (3B) 
22;  [67]  61,  241,  335,  364;  [68]  76,  191;  [35]  12,  146; 
[40]  (2)  5. 


32  Versification  and  Language. 

6.      BROKEN   COUPLETS. 

Very  frequent.  Here  also  as  in  the  case  of  overflow 
verse,  considerable  irregularity  would  be  unnoticed  on 
account  of  the  half  chanting  manner  of  delivery  used  in 
most  of  the  prologues. 

The  punctuation  found  in  the  manuscripts  and  old  edi- 
tions is  of  very  little  value  in  deciding  cases  of  overflow 
verse  and  broken  couplets,  being  in  most  cases  misleading. 

Examples  of  broken  couplets: 

[13]  (i),         11-14.     Nous    vous    prions    tous    quil    vous 

plaise  taire 

Jusques  a  ce  que  acheve  nous  aurons. 
Affin  dennuy  fuir  nous  nous  tairons; 
Present  des  lieux,  vous  les  povez  con- 

gnoistre 

[14],  141-144.     Qui  luy  fit  muer  la  couleur, 

Car  tout  luy  vint  a  un  coup. 
Adonc  le  preud'homme  Job, 
Quand  il  ouyt  tout  ceci  dire 

[18],  62-64.     Vierge  conQeut,  vierge  enfanta. 

La  mere  qui  tel  enfant  a 
Sans  corrupcion,  sans  detresse 

[19]  (lA),  165-168.     ou  d'avoir  si  mauvais  guerdon 
que  james  ne  soit  retournee. 
Apres  la  sentence  donnee, 
orrez  raisons  haultes  et  bonnes, 

(lA),  196-200.     vierge,  qui  mere  devoit  estre, 

pour  porter  le  doulx  fruit  celestre 
venant  du  trosne  supernel. 
Lors  vendra  Tangle  Gabriel 
faire  1'adnunciation 

(iD),      18-20.     Et  tresbien  ressemblant  abel. 
Icelluy  seth  tindrent  a  bel, 
Car  en  leurs  dueulz  les  depporta 


Versification  and  Language.  33 

[19]  (4),     153-156.     et  finablement  admener 

en  mon  royaulme  perdurable. 
Et  puisque  tant  est  pourfitable 
tel  resurrection  haultaine 

[26],  23-25.     Qui  bon  maistre  sers,  bon  loier  atent. 

Le  doulz  Jhesuscrist  ama  tant 
Son  peuple,  qu'il  se  mist  a  mort, 

[29]  (4),         83-84.     En  ce  qu'il  nous  dist  "surrexit." 
Secondement  le  theume  dit 

87-38.     De  Dieu  quant  il  dit  "Dominus". 
Tiercement  nous  donne  au  surplus 

[32],  4I-43-     En  ce  que  vous  ay  dit  entendre 

De  latin  retraire  en  fran9ois. 
Doulces  gens,  bien  est  voir  qu'engois 

54-56.     Du  monument  yssant  touz  viz. 
Tres  doulces  gens,  il  m'est  aviz 
Que  ceste  prophecie  avint 

[33]  (lA),      37-39.     Pour  ennuyt,  puis  lexposeray 

En  francois  pour  les  simple  gens. 

Descendit  ad  inferos. 
Mes  amis  a  ce  que  jentens 

[52],  33-36.     Puis  apres  changa  son  abit 

En  signe  de  parfait  crestien. 
Mais  1'empereur  Dyoclecien, 
Qu'il  avoit  longuement  servy, 

[56],  38-41.     Que  il  monteploie  et  pourfite 

Canque  on  li  commande  a  garder". 
— "Vilains,  je  te  ferai  larder 
s'il  ne  monteploie  et  pourgarde 

[68],  16-17.     Je  vous  diray  cy  1'exposicion : 

Beati  qui  persecussionem,  etc. 
Benoists  sont  ceulx  qui  percecucion 


34  Versification  and  Language. 

[33]  (2)j         U-I3-    Les  paroles  cest  assavoir ; 

Tercia  die  resurrexit  a  mortuis 
Cheres  gens  vous  deves  savoir 

[33]  (3)>  8-12.     Done  cest  la  retribucion 

Icy  au  jour  duy  assignee ; 
Ascondit  ad  celos  sedet  ad  dexteram 
Dei  patris  omnipotentis. 
Je  tiens  ainsi  pour  repetee. 

In  the  last  three  examples  the  couplet  is  broken  by  Latin 
lines,  one  line  in  [68]  and  [33]  (2),  and  two  lines  in  [33] 

(3)- 

Other  examples  of  broken  couplets  are:  [56]  n,  21,  44, 
61,  95,  104;  [18]  14,  72;  [73]  9,  13,  73;  [26]  39,  69,  125, 
127;  [32]  46;  [19]  (lA)  180,  (iB)  3,  5,  (IE)  6,  (3) 
87,  (4)  29,  58,  120,  138,  148;  [27]  100,  118;  [13]  (2)  6; 
[33]  (iA)  114,  179,  (iB)  14;  (2)  192  (3)  130;  [76] 
(i)  69  (2A)  6,  33,  (26)  55,  105  (3)  112;  [12]  21,  74; 
[68]  74,  155,  190;  [65]  45,  65,  141;  [29]  (i)  66  (2)  22, 
94,  (4)  91,  117. 

7.      CESURA. 

The  cesura  in  the  eight  syllable  line  follows  the  regular 
rules.  In  the  ten  syllable  verse  however,  quite  frequently 
it  falls  after  a  mute  syllable,  thus  weakening  the  effect  of 
the  verse. 

The  use  of  the  weak  cesura  was  quite  common  in  the 
poetic  works  of  the  earlier  Old  French  poets.1 

Professor  Tobler,  however,  puts  the  beginning  of  the  six- 
teenth century  as  the  date  of  the  modern  French  usage  of 
prohibiting  the  weak  cesura  unless  the  mute  final  e  of  the 
first  hemistich  was  followed  by  a  vowel.  As  the  seven  pro- 
logues having  ten-syllable  lines  range  from  1474  to  1518 
they  would  seem  to  be  in  the  transition  period. 

1  Cf .  E.  Stengel,  Gr.  Gr.,  p.  52,  §  107-108,  and  A.  Tobler,  Vom 
Franzosischen  Versbau,  pp.  95-96. 


Versification  and  Language.  35 

We  have  quite  clear  examples  of  the  lyric  cesura  but  the 
forms  of  what  may  be  called  epic  cesura  are  quite  irregular. 

Examples  of  lyric  cesura: 

[13],  9.  Ainsi  comme  nous  le  demonstrerons 

12.  Jusques  a  ce  que  acheve  nous  aurons. 

[25],  24.  Plaise  luy  de  nous  en  donner  1'eloquence 

36.  De  ses  ennemys  et  raysonnable  vengence 

40.  La  tierce  requeste  est  qu'en  remembrance 

43.  Reculant  le  maulvais  air  et  pestilence 

(2),         8.  Bien  nous  a  le  ault  Dieu  illuminez 

14.  Nous  ostarent  les  nostres  grans  mesfaictz 

26.  Nostre  Evesque  print  par  ses  malins  fort- 

faictz 

27.  Sans  parfaire  1'ediffication 
(3),         2.     Des  faictz  dignes  de  recordation 

20.  De  Marie,  et  vueillons  regarder 

21.  Et  entendre  de  tout  notre  couraige 

28.  Car  voyons  que  ta  representacion 
[48]  (i),         i.  Aristote,  philozophe  notable 

(3)>         3-  Car  il  monstre  les  genealogies 

4.  Des  personnes  en  dignitez  logics 

[68],  4.  Ung  mistere  en  la  probacion 

12.  Les  parolles  que  jay  cy  davant  dictes 

13.  Ou  cinquiesne  chappitre  sont  escriptes 

14.  De  sainct  Marc  le  bon  euvangeliste 
46.  Nostre  prince  naturel  congnoissant 
52.  Tout  soulz  vostre  correction  benigne 
54.  Et  de  toute  la  seigneurie  digne 

113.  Pour  quelconque  tourment  paine  ou  oul- 

traige 

119.  Et  au  monde  plus  cher  mourir  ama 

127.  Convenables  le  plus  a  nostre  ouvraige 

148.  Qui  ne  servent  sinon  de  tout  mal  faire 

157.  Son  diacre  povez  veoir  la  present 

159.  Et  les  prestres  toutz  ranpliz  derreurs  folles 

175.  Ou  mistere  cy  presens  davantaige 

193.  Avant  qu'outre  proceder,  instrument 


36  Versification  and  Language. 

[?6]  (i),         9-  souverainne  des  juifz  grefve  vengance 

15.  sen  admirent  comme  de  cas  horrible 

16.  et  en  disent  celle  question  mise 

17.  en  mon  theume  laquelle  a  este  prinse 

20.  et  les  peuples  pense  aux  choses  vaines 

21.  pour  destruire  jesucrist  et  sa  foy 

36.  pure  et  nette,  le  ventre  precieux 

37.  de  marie,  mais  les  ambicieux 

40.  lors  que  au  temple  de  Salomon  preschoit 

41.  le  livrerent  a  tourment  et  a  paine 
54.     que  lui  firent  ceulx  de  sa  nacion 

59.  que  sans  cause  les  faulz  juifz  murmurent 

71.  les  prodiges  et  les  signes  verrez 

72.  lesquelz  furent  envoyez  de  par  dieu 
77.  du  mistere  qui  moult  est  a  noter. 

The  other  mysteries,  36  and  72,  in  which  the  ten  syllable 
line  is  found,  have  no  examples  of  lyric  cesura. 

In  the  examples  which  will  be  given  below  of  mute  e  fol- 
lowing the  tonic  fourth  syllable,  while  we  have  various  cases 
of  apparent  ordinary  epic  cesura  we  have  a  much  larger 
number  of  cases  where  the  mute  e  is  followed  by  a  vowel. 
Usage  was  evidently  varying  but  with  the  majority  adopt- 
ing the  modern  French  customs.  The  three  examples  of 
[72],  the  one  example  of  [36],  seven  examples  of  [25]  are 
mute  e  -f-  consonant.  The  three  examples  of  [13],  eleven 
of  [25],  the  three  of  [48],  the  one  of  [76],  all  seventeen 
of  [68] ,  are  mute  e  -J-  vowel. 

Examples  of  epic  cesura,  (regular  and  irregular) : 

[13],  6.  A  voulu  prendre  et  vray  homme  soy  faire 

7.  Et  dune  vierge  il  a  fait  son  sacraire 

21.  Que  par  sa  grace  il  nous  soit  adjuteur 
[25]  (i),       18.  De  rhetoricque  et  mise  en  memoire 

22.  De  ce  sainct  temple  et  singulier  oratoire 
27.     Chose  tres-digne  et  de  grant  excellance 


Versification  and  Language.  37 

[25]  (i),       28.     L'autre  requeste   [est]  d'avoir  en  souve- 
nance 

31.  Lequel  nous  oste  tous  les  jours  de  souff- 

rance 

32.  Tous  nous   qui  sommes  obeissans  soulz 

France 

39.  Chose  tres-digne  et  de  grant  excellance 

44.  D'epidemye,  malheureuse  meschance 

51.  Chose  tres-digne  et  de  grant  excellance 

57.  Chose  tres-digne  et  de  grant  excellance 

(2),         3.  Par  son  aultaine  operation. 

15.  Par  leur  tres-saincte  predication 

18.  Mais  pour  leur  vraye  introduction 

22.  Car  Dieu  a  George  fi  a  recite 

(3),         5.  De  ceste  eglise  de  devotion 

10.  De  toy,  tres  sancte  Vierge  Marie 

26.  A  ton  ymaige,  Fille  de  Sion 

37.  Princesse,  vueilles  nous  contregarder, 
[36],               39-  Et  qu'en  sa  grace  nous  maintienne  toudiz 
[48]  (i),         2.  Meet  ung  notable  utile  a  concepvoir 

4.  Tant  soit  instable  au  monde  variable 

5.  Et  miserable,  appette  de  sqavoir. 
[68],                 i.     A  la  louenge  et  exaltation 

10.     Donnant  au  peuple  edifficacion 

20.  Des  cieulx  sans  doubte  et  Dieu  le  leur 

promist 

21.  Et  de  sa  bouche  aux  apostres  le  dist 

38.  Pour  laquel  grace  avoir  et  acquerir 
53.     Et  de  la  Royne  aussi  nostre  princesse 
55.     Esperons    faire   ains    que   nostre   empris 

cesse 

68.  En  son  enfance  aux  escolles  instruyt 

83.  Cruel  terrible  aspre  et  felon  tirant 

123.  Mais  qu  il  vous  plaise  entendre  la  matiere 

130.  La  est  lorrible  ort  et  puant  enffer 

145.  Comme  sa  femme  et  son  filz  et  sa  fille 

161.  Sont  en  la  chartre  ou  il  fait  ort  et  let 


38  Versification  and  Language. 

[68],  168.  Par  lordonnance  a  sa  bonne  matrosne 

178.  Lequel  mistere  acomplir  et  parfaire 

191.  En  toute  forme  et  maniere  propice 

194.  Pour  mon  prologue  abreger  et  finer 

[72],  i.  Seignieurs     et    dames,     vous     entendres 

Tistoire 

4.  Tout  le  mistere,  sans  proferer  langaiges 

8.  Sire  Severe,  grant  empereur  Romain. 

[76] ,  63.  Et  que  leur  faulte  evidentement  voyent. 


II. 

JOINING   OF   PROLOGUE   TO   MYSTERY. 

Ordinarily  the  first  speech  of  the  dialogue  begins  with 
different  rhyme  and  the  same  syllabification  as  the  pro- 
logue. In  the  ninety-two  prologues  there  are  fourteen 
exceptions  as  to  rhyme  and  seven  as  to  syllabification. 

Exceptions  with  same  rhyme: 

[12],  99.     Nous  soit,  car  mieulx  le  feissons, 

100.     Se  mieulz  faire  le  SCCUSSOTW 

/Comment  le  marquis  sen  va  voler  avec  \ 
\sa  gent  et  dit  Ainsi  / 

1.  Je  aoy  quil  feust  heure  et  szisons 

2.  Puis  quautre  chose  ne  faisons 

[13]  (i),       22.     Done  Balaam  le  prophete  gentil 

23.  Commencera  le  premier,  et  est  cil 

24.  Qui  eliud  est  dit  en  livre  job. 

Balaam  prophete. 

1.  Orietur  Stella  ex  Jacob. 

2.  Je  ne  suis  pas  venu  de  la  racine 

3.  Du  bon  Jacob  patriarche  tres  digne, 


Versification  and  Language.  39 

(2)>       IO-     Affin  que  au  jourduy  on  affine 

11.  Et  que  du  tout  en  tout  termine 

12.  La  proposee  demonstrance. 

Doctovian  empereur. 

1.  Escoutes,  seigneurs  de  va.i\lance, 

2.  Par  qui  lempire  des  rommains 

3.  Est  conduite,  qui  en  nos  mains 

[I5]»  S^.     et  je  suplie  le  createur 

57.  vos  donner  sante  et  honneur ; 

58.  qui  doit  commencer  si  commence 

Sathan. 

1.  Lucifer,  entendez  ma  sentence, 

2.  Brancop  nous  havons  a  penser, 

3.  car  dieu  qui  Ihomme  exaulcer 

[25],  105.     Et  iceulx  vueillez  tost  pronuncer  ; 

1 06.     Et  commance  qui  doibt  commancer. 
Sainct  Vosi    'primo' 

1.  Mais  qui  pourroit  assez  pen^r 

2.  Aux  grans  biens  que  Dieu  nous  donne? 

[48]  (i),     133.  Priez  qu'il  n'y  ait  que  redire, 

134.  S'en  vous  quelque  doulceur  y  a, 

135.  Et  veulliez  tant  seulement  dire 

136.  Chascun  ung  'Ave  Man'a'. 

Le  Fol. 

1.  Veult-on  chanter  alleluya, 

2.  Ou  jouer  cy  quelque  grimace? 

3.  Je  crois  que  oncques  on  n'alya 

4.  Tant  de  folz  tout  en  une  place. 

(2),       39.     S'il  y  a  faulte  en  notre  fait, 

40.     Vous  sc,avez  que  nul  n'est  parfmV 
Le  Fol. 

1.  'Bona  vita'!   Jennyn  Cornet 

2.  Dieu,  que  tu  as  sotte  visiere ! 


40  Versification  and  Language. 

[533 >  I6i.     Je  vous  requier  a  tous  silence, 

162.  Et  qui  doyt  commencer  commence, 

163.  Et  entende  chascun  a  soy. 

(Philipe,  empereur,  commence.  \ 
Premier  eschauffault  / 

1.  Seigneurs  barons,  entendez  may, 

2.  Vous  scavez  bien  comment  le  roy 

[59]  (2),         7.     Affin  que  les  fais  revelons 

8.     De  saint  Loys,  que  chascun  prise. 
Le  Conte  de  Potiers. 

1.  Ma  noble  mere,  qui  premie 

2.  Aves  este  stir  ce  royaume, 

[66]  (i),       48.     Que  pardonnes  nostre  ignorance; 
49-     Qui  doibt  commencer  si  commence. 
Le  Fol  commence. 

1.  Et  moy  qui  suis  homme  dappar^wc^, 

2.  Premier  je  men  voys  commencer 

3.  Et  vous  diray  telle  sentence 

[72]  (i),     115.     Quant  vous  plaira  vous  feres  les  entraiges 
116.     Sire  Severe,  grant  empereur  Romam. 
Laus  Deo. 
Jhesus 
Severe,  Empereur  commance. 

1.  Hault  Saturne,  puissant  Dieu  primer  am, 

2.  Tenant  des  dieux  la  monarche  en  ta  main. 

[76]  (i)>       76-     qui  commencer  vont  lintroduction 

77.  du  mistere,  qui  moult  est  a  noter 

78.  a  qui  requiert  avoir  salvaa'ow. 

Agripine,  femme  de  hierusalem 

1.  Triumphant  bruyt,  glore  exaltaaon, 

2.  attribue  par  augmentacion 
(2B),  135.     a  son  conseil  et  a  ses  gens, 

136.  affin  quilz  soient  tous  dilgens 

137.  de  venir  tantost  devers  luy. 

Pausa. 


Versification  and  Language.  41 

[76]  (26),  Herpin;  luissier. 

1.  Les  dieux  vous  vueillent  aujourdhwy 

2.  donner  sante  plaisir  et  joye 

(3),     1 1 8.     pourtant  nous  prion  lassistence, 

119.  que  entretant  que  nous  joueron, 

1 20.  nous  veullent  donner  audience. 

Vespasien 

1.  Or  sus,  seigneurs,  il  fault  quon  pense 

2.  de  se  mettre  en  point  vaillamment, 

In  13  (i,  2),  15,  58,  76  (2B),  the  last  line  of  the  prologue 
rhymes  only  with  the  first  line  of  the  dialogue. 

Exceptions,  with  different  syllabification: 

[20]  (4),         8.     les  roigz  bethleen  approchier. 

Herode  comence. 

i.     Mes  haultz  princes  quy  maitenes  mes  loix 
(7),       12.     de  Jehan  prendre  baptisement. 

Le  roy  de  yscarioth  comence' 
i.     Segneurs,  je  doy  dieu  louer  et  benir 

(n),     12.     ouyr  deentente  ces  paroles. 

Magdalene  comence. 
I.     Las,  las,  helas,  quy  me  poelt  conforter. 

(12),     12.     par  la  vostre  begnivolence. 

Jehan  baptiste,  en  prison. 
i.     Or  suis  je  cy  attendant  tempre  et  tardt 

(13),       8.     la  femme  courbe  et  maint  mistere. 

Jhesus  comence. 

i.     Mes  apostles  retirons  nous  en  paix 
(15),     12.     convertir  a  dieu  vraiement. 

Cayphe  comence. 

i.     Depuis  le  temps  que  les  erreurs  survin- 
drent 


42  Versification  and  Language. 

[20]  (16),       9.     fut  recupt  en  celle  journee. 

Lazare  comence. 
i.     Marthe  ma  soer  et  marie  bien  plaire 

(24),       8.     car  larticle  est  de  verite. 

Anne  comence. 
I.     Cayphe  filz  je  craindz  terriblement 

[39]  (lA),  132.     Qui  doit  commencer  si  commence. 

Icy  la  folle  femme  etc. 
i.     Tant  que  vivray  en  aage  florissant 

[55]  (iB),       8.     Le  tout  par  tresbonne  manyere. 

Lucifer, 
i.     Sortez,  sortez,  gras  deables  infernaulx 

(26),       8.     Monstrez  vous  devant  et  derriere 

Sathan. 
i.     Roy  Luciffer,  dyabolique  face, 

[74],  21.     Faites  nous  silence 

Casper,  Roy  de  Tarre 
I.     Depuis  1'aage  du  beau  regne 


Versification  and  Language.  43 


III. 

ORTHOGRAPHY  AND  PRONUNCIATION,  INDICATED  IN 
THE  RHYME-WORDS. 

The  same  usages  are  found  in  the  mystery  as  in  the  other 
forms  of  literature  of  the  time.1 

This  fact  is  seen  from  the  following  examples : 

Vowels: 

Age  pronounced  aige;  25  (3),  39  Juge-mage:  ymaige. 
33  (lA),  84  parsonnages:  usaiges. 

Ai,  ei,  e,  e,  equivalent;  33  (iB),  28  prophete:  faicte;  33 
(2),  138  varlet:  fait;  33  (2),  188  fait:  effect;  33  (3),  181 
deffait:  dolivet;  76  (i),  55  me  tais:  gentes  (Latin);  39 
(A),  118  mistere:  taire ;  58,  line  55  mistere:  retraire;  54 
line  i  celeste:  maistre. 

Ou  and  o,  indecision;  73,  line  73,  route :  Herode ;  14, 
line  142  coup:  Job;  9  (A),  178  hor:  desmovor; 

Ou  and  eu,  hesitation;  10,  line  255  jour :  labeur;  9  (A), 
182  amour:  douceur;  9  (A),  17  labor:  encor;  9  (B),  48 
demorer :  honnorer. 

Eu  and  u,  hesitation;  73,  line  121  deceulz:  confus;  27 
(lA),  122  du  (dieu)  :  peu;  27  (col.  13)  10  congru:  deu 
(dieu)  ;  27  (col.  13)  33  eu  (avoir)  :  congru;  27  (col.  18) 
32  veu  (p.p.):  feu;  27  (col.  19)  6  eu  (p.p.):  pleu ;  77, 
line  29  menus :  chaneux. 

Oi  (pron.  oue)  replaced  by  e;  27  (col.  17  line  10,  col.  18 
line  12,  and  col.  22  line  22)  congnoistre:  estre;  27  (col.  19) 
2  acroistre:  estre;  33  (lA)  104  scait:  seroit;  76  (3)  9 
estre:  congnoistre;  39  (A)  70  courtoyse:  malaise;  54, 
line  43  labbe:  arroy;  52,  line  54  recognoistre :  celeste. 

Oi  and  o,  confusion;  19  (4),  146  gloire:  encore;  20 
(24),  5  adores:  croires ;  9  (A),  18  encor:  avor;  36,  line 
35  1'istoire:  memore. 

1  Cf.  Darmsteter  et  Hatsfeld.    Le  i6e  siecle  en  France,  pp.  194-223. 


44  Versification  and  Language. 

Femme  (em  =  am);  33  (iA),  48  ames:  femmes;  33 
(2),  142  femmes:  basmes;  33  (3),  177  ames:  femmes; 
67,  line  334  femme :  Lucianne. 

Consonants: 

[P,  B]  p,  b -\- consonant,  silent;  33  (iB),  102  dictes: 
escriptes;  19  (2),  59  escript:  Crist;  27  (iA),  96  and  33 
(iA),  5  jesucrist:  escript;  33  (3),  35  dis :  escriptz;  76 
(2A),  17  transcripte:  dicte;  76  (2A),  92  and  29  (4),  29 
dit:  escript;  4  line  43  doubt:  toute;  10,  line  208  merite: 
escripte;  68,  line  12  dictes:  escriptes.  48  (26),  33  lors : 
corps;  29  (4),  67  pris:  excrips ;  33  (iB),  48  escripre:  dire 
48  (2 A),  7  empire:  escripre. 

[F]  f  +  s,  silent;  33  (iA),  lobpris:  juifz;  76  (26),  39 
juifz :  esbays. 

[T]  (i)  t-}- consonant,  silent;  33  (iA),  n  motz:  prepos ; 
33  (3)>  35  dis:  escriptz;  33  (3),  line  83  juifz:  advis ;  33 
(3),  101  juifz:  amis;  58,  line  143  Belzebuthz:  abus. 
(2),  t  final,  silent;  32,  line  64  estandi:  vainquit;  39  (A), 
93  gens :  argent. 

[S,  X,  Z]  (i),  s,  x,  z  interchangeable.  Very  frequent. 
33  (iA),  64  representez:  nombres;  33  (iB),  20  precis: 
six;  33  (3),  45  celeste:  dextre;  10,  line  231  dextre: 
maistre;  36,  line  39  toudiz :  paradis ;  9  (A),  no  genesis: 
jadix.  (S  final  being  silent,  but  two  of  the  above  examples 
may  be  considered  as  proof.  The  others  in  appealing  to  the 
eye  indicate  simply  the  tendency.) 

(2),  ^  final,  silent;  33  (3),  99  Nicodomue:  nulz ;  39 
(A)  93  gens:  argent;  10,  line  266  vescuz:  fu. 

(3),  s  -\-  consonant,  silent;  19  (2),  59  escript:  Crist; 
27  (iA),  96  and  33  (A),  5  jesucrist:  escript;  27  (col.  4), 
23  precede  et  yst:  esperit ;  27  (col.  14),  10  arest:  nazaret; 
27  (col.  17),  arrest:  subject;  33  (2),  6olaissames:  allasmes  ; 
33  (3).  39  dit:  jesucrist;  33  (3),  211  dolivet:  arrest;  39 
(B),  25  dames:  blasme;  58,  line  31  sixte:  recite;  58,  line 
57  suffist:  dit;  15  (B),  22  Jususchrist:  dit;  29  (i),  75 
plaist:  fait;  29  (3),  31  manifest:  prophete;  29  (4),  83 
surrexit:  dit  (line  122:  dist)  ;  29  (4),  167  esprit:  promist. 


Versification  and  Language.  45 

[C,  G]  (i),  c  -\- 1,  silent;  33  ( i B ) ,  38  prophete :  faicte; 
27  (col.  17),  arrest;  subject;  33  (2),  188  fait:  effect; 
76  (2A),  17  transcripte:  dicte;  76  (2B),  127  point: 
joinct;  4,  line  16  sainctes:  maintes ;  48  (2A),  17  letre: 
mectre;  10,  line  14  fleurettes:  planectes;  10,  line  210 
escripte:  conduicte:  quicte  (line  208:  merite)  ;  20  (5), 
5  toictz :  fois ;  68,  line  12  dictes :  escriptes ;  74,  line  7 
ecrit :  diet. 

(2),  ng  final  =  n;   33  (2)  lesungs:  aucuns. 

[L,  N]  (i),  /  +  consonant  (s,  x,  z,  m),  silent;  18,  line 
20  Dieux :  cieulx ;  32  line  7  and  73,  line  7  crucefix :  filx ; 
73,  line  121  deceulz:  confus;  19  (2),  25  Tame:  royalme; 
27  (col.  5),  1 8  prefix:  filz;  27  (col.  13),  28  entrepris:  filz; 
27  (col.  15),  5  filz:  six;  33  (iB),  58  Basteaux:  haulx; 
76  (i),  34  cieulx:  precieux;  4,  line  58  filz:  ensis:  58,  line 
73  assis:  fils;  20  (8),  2  filz:  desconfis;  15  (A),  3  peches: 
mortelz;  15  (A),  13  mortelz:  notez;  67,  line  59  Dieu: 
lieux;  35,  line  186  dis:  filz;  65,  line  45  cieulx:  mieux. 

(2),  ns  for  s  in  past  participles;  76  (i),  6  prinse:  mise; 
76  (3),  32  mise:  prinse;  48  (i),  25  entreprins :  pris ;  48 
(i),  114  entreprinse:  devise;  9  (A),  99  francois:  prins: 
advys :  ainsi. 

[N  mouillee]  n  mouillee  (gn)  reduced  to  n;  33  (3), 
43  divine:  digne;  29  (4),  147  divine:  digne. 

[R]  (i),  or:  ore;  33  (3),  163  tabor:  encore;  9  (A), 
17  labor:  encor:  avor. 


46  Versification  and  Language. 

IV. 

MISCELLANEOUS. 

Short  passages  of  Latin  are  found  interspersed  in  most 
of  the  prologues.  Many  of  these  are  embodied  in  the  rhyme, 
the  Latin  rhyme-words  rhyming  with  each  other  or  with 
the  preceding  or  following  French  rhyme-word.  In  these 
cases  the  last  syllable  of  the  Latin  word  is  accented,  but 
the  vowels  usually  retain  their  Latin  pronunciation.  There 
are  two  notable  exceptions  ;  um  pronounced  like  French  om, 
and  us  like  French  iis. 

i.     LATIN:  LATIN. 

[9]     (A),        85-91.     In  omnibus  bene  dicere 
Et  in  nullo  de  mare, 
Potius  divinitatis 
Quam  humanitatis. 
Ab  hoc  cause  cerenitatis 
Redeo  ad  prepositum 
Resumando  themma  scriptum. 

[9]     (B),  1-2.     Magnus  dominus  et  magna  virtus 

Ejus     et     sapiencie     ejus     non     est 
numerus. 

[15]  (B),  1-4.     Ommes  nos  manifestari 

oportet  ante  tribunal  christi, 
ut  referat  unusquisque 
prout  cessit  in  corpore 

24-27.     Ibunt  qui  bona  fecerunt 
In  resurrectionem  vitae, 
qui  vero  mala  egerunt 
in  ignem  certe  aeternum 

[19]  (4),     131-133.     j'ay  fait  plus  fort:   'resurrexi 
et  primus  dormiencium 
vivo  et  adhuc  sum  tecum. 


Versification  and  Language.  47 

[26],  137-138.     Fidelium  defunctorum, 

Per  secula  seculorum. 

n 

[32],  23-24.     Ipse  dixit  et  facta  sunt, 

Mandavit  et  creata  sunt ; 

[33]  (lA),      31-32.     Pater  noster  et  cetera 
Et  ave  gratia  plena. 

[65],  135-136.     et  pour  ce  ay  je  dit :  'venite, 

opera  dei  videte'. 

[67],  37-38.     en  disant:   ave  Maria 

memorare  novissima  tua. 


2.      LATIN  :     FRENCH. 

[4],  129-131.     Pardonnes  nous  se  faulte  y  a, 

Et  afin  que  cy  soit  presente, 
Un  joyeuls  'Ave  Maria.' 

[9]  (A),    189-190.     Propter  scelus  populi  percussi  eum, 
Parquoy  conclure  nous  povom 

[15]  (B),  5-6.     sive  bonum,  sive  malum. 

Je  vous  vous  prie,  escoutez  done, 

[18],  i.     'In  principio  creavit  Deus  celum  et 

terram,  etc' 

Benois  soit  il  qui  se  tera 
Et  fera  paix  pour  mieulx  oyr 
Chose  dont  tout  cuer  resjoir 

[19]  (iA),  131-134.     Veni  ad  liberandum  nos. 
Domine  Deus  virtutum! 
Je  dis  encore  a  mon  propos 
par  le  theme  de  mon  sermon, 

(4),  i.     'Resurrexi  et  adhuc  tecum  sum', 

Avant  que  fa9ons  mencion 


48  Versification  and  Language. 

[*9]  (4)>         3I-32-     quand  il  prononqa  si  serre; 
'Astiterunt  reges  terre' ; 

130-131.     comme  oublie,  mort  et  transi, 
j'ay  fait  plus  fort:   'resurrexi, 

[25]  (i),  9-10.     Car  en  la  grace  Dieu  si  ample  n'a, 

Disons  tous ;  'Ave,  gratia  plena.' 

79-80.     En  ung  pseaulme  disant  ainsi : 
'Memor  fui  operum  Domini,' 

[26],  1-2.     'Deus  in  adjutorium/ 

Entre  nous  tuit  deprion, 

15-16.     Deus  in  adjutorium  meum. 
Aiez  tretuit  devocion 

[29]  (3)>  9-10.     Que  Gabriel  lui  presenta, 

Quant  il  dist:   'Ave  Maria'. 

(4),         87-88.     De  Dieu  quant  il  dit  'Dominus.' 

Tiercement  nous  donne  au  surplus 

83-84.     En  ce  qu'il  nous  dist    'surrexit.' 
Secondement  le  theume  dit, 

9i>-92.     En  tant  qu'il  prononce  'vere'. 
Ve  la  le  theume  devise 

121-122.     Nostre  theume  quant  il  nous  dist. 
Au  commencement   'surrexit' 

127-128.     De  Dieu  le  pere  de  lassus, 

En  ce  qu'il  nous  dist,  'dominus'. 

177-178.     Qui  regne  et  tou jours  regnera 
'In  seculorum  secula'. 

[35]'  105-106.     Que  de  prescher  la  foy  Jhesum 

Avoient  leur  intencion 


Versification  and  Language.  49 

[35L  126-127.     En  Ynde  en  ce  temper  ilia, 

Y  avoit  ung  Roy  qu'on  nomma 

135-136.     Tant  hay  la  Religion 

Des  moynes  et  la  foy  Jhesum 

7-8.     Disait  ce  mot  aux  grans  et  aux  petis : 
'Hysteria  est  lux  veritatis'. 

21-22.     'Qui  ex  deo  est,  verba  dei  audit.' 
Entendez  bien  ce  que  jay  dit, 

15-16.     Capitulo  primo,  questione  oct[av]a 
Sane  Jaque  poin  se  noblia 

55-57.     Avec  plusieurs  autres  dont  je  me  tais. 
Les  sages  gens  par  admiracion 
disent,  quare  f  remuerunt  gentes  ? 

(2A),  113-115.     en  sa  fureur  les  arguera 
Que  fuerunt  verba  vestris 
dominationibus  presentata. 

(3)>         94~95-     aux  vers  dapres  quil  nous  bailla 
cest  disrumpamus  vincula 

[26],  13-14-     Cil  qui  la  bonne  creance  a, 

Cy  die  le  'Ave  Maria' 

In  all  except  seven  of  the  above  quotations  the  French 
rhyme- word  rhymes  only  with  the  Latin  word.  In  [18]  line 
3  where  the  rhyme  is  doubtful  on  account  of  the  "etc," 
following  the  Latin  word  "terram",  this  is  also  true, 
"tera"  standing  alone. 

In  the  seven  exceptions  (19  (iA),  line  13;  19  (4),  line 
i;  35,  line  105,  126  and  135;  67,  line  15;  76  (2A),  line 
113)  the  position  of  the  Latin  rhyme- word  in  the  rhyme 
scheme  is  such  that  its  intentional  use  is  clear. 

The  subject  of  Latin  phrases  in  general  will  be  treated 
further  under  the  heading,  "Erudition  in  the  prologue." 


50  Versification  and  Language. 

3.        ASSONANCE  FOR  RHYME. 

9  (A),  58.  glorieuse:  d'eulx;  18,  line  20  Diex :  cieulx; 
14,  line  86  Apostre:  demonstre;  19  (2),  59  escript:  Crist; 
27  (col.  5),  42  par  ce:  essence;  4,  line  123  miracle: 
demoniaque;  53,  line  65  Ambroyse:  veoir;  54,  line  67 
aveugle:  veuillent;  65,  line  25  pour  ce :  courouce;  29(3), 
71  loenges:  angles. 

4.         IMPERFECT  RHYMES. 

9  (A),  46  loer:  ouyr;  14,  line  142  coup:  Job;  14,  line 
39  dixiesme:  Jerosme;  27  (col.  13),  39  charge:  vierge 
33  (2),  80  dennuyt:  jesucrist;  33  (3),  5  faicte:  redicte; 
4,  line  63  plus :  canis ;  4,  line  85  elle :  sapareille ;  58,  line 
139  mauldis:  puys;  52,  line  52  juge:  sage;  77,  line  15 
droyture:  ire. 

In  this  entire  division  the  question  of  reliability  of  texts 
is  very  important  and  likewise  the  possibility  of  dialectic 
forms. 


Versification  and  Language.  51 


V. 

VERSIFICATION  IN  THE  PROVENCAL  PROLOGUES. 

The  following  prologues  were  considered:  80  (lA,  B), 
81,  83,  84,  85  (lA,  B,  2),  86  (lA,  B,  2).  Six  mysteries 
with  eleven  prologues.  Total  number  of  lines,  532.  The 
other  mysteries,  79,  82  and  87,  have  no  regular  prologues. 

In  [84] ;  the  speech  of  the  "Primio  Nuncius"  alone  is  used. 
The  several  speeches,  delivered  in  the  street  by  the  "Trom- 
peta"  and  "Nuncius"  before  the  representation,  are  not 
considered.  In  [81],.  the  beginning  and  end  of  the  dis- 
course of  the  "Primus  Nuncius"  alone  is  used ;  the  farce 
in  the  middle  of  the  speech  is  omitted. 

Of  the  thirty-three  lines  of  [83],  the  last  seventeen  are 
badly  mutilated. 

I.      SYLLABIFICATION. 

A  satisfactory  study  of  syllabification  is  impossible  on 
account  of  the  extreme  carelessness  of  the  authors  in  this 
regard.  The  main  object  considered  by  them  seems  to  have 
been  the  rhyme.  In  81,  84  and  85  there  are  lines  varying 
from  six  to  ten  syllables.  The  irregularity  of  syllabification 
may  be  seen  in  the  following  examples,  which  are  a  fair 
sample  of  the  remainder  : 

[81],      5.  Nobla  gent  ar  escota ;  (7  syllables 

6.  Nos  autre  sen  eyci  assembla  (8        " 

7.  En  reverencio  de  nostre  Segnor  ( 10 
10.  Qu'el  a  tengu,  dal  comensament  a 

la  fin  (12  " 

[84],    72.     Per  so  vulhas  ben  entendre  (7 

73.  Et  en  vostra  memoria  conpendre  (9  " 

74.  Los  personages  que  jugaran,  (8  " 

75.  Que  vulhas  ben  auvir  (6 
[85],    21.     Contar  vous  voluc,  de  cor  fin,  (8  " 

22.  Per  rendre  vostre  voler  atent,  (9 

23.  Vous  veyre  eyssi  en  present.  (8        " 

24.  Juar  ambe  devotion  (7        " 


52  Versification  and  Language. 

Although  the  greatest  liberty  may  be  allowed  in  the  use 
of  hiatus  and  varying  syllable  values,  the  lines  do  not  accord 
as  to  length. 

The  eight  syllable  line  is  used  most  commonly.  It  is 
found  in  all  of  the  prologues.  The  ten-syllable  line  is 
found  in  85  (iB),  lines  1-18,  where  it  is  used  in  the  prayer 
to  God,  while  the  eight  syllable  line  is  used  in  the  plea  for 
silence. 

2.        RHYME. 

The  "rimes  plates"  are  used  in  all  of  the  prologues  with 
the  exception  of  85  (iB,  2)  and  86  (lA,  B,  2). 

No  distinction  is  made  in  the  subject-matter  between  the 
use  of  "rimes  plates"  and  strophic  construction.  There 
are  three  ballads;  85  (2),  86  (iB)  and  86  (2)  addressed  to 
the  "Prince"  (God),  but  they  consist  of  the  ordinary  pro- 
logue matter  ;  analysis  of  piece,  silence,  etc.  Each  of  these 
three  ballads  has  a  four  line  envoi  addressed  to  the  "Prince" 
(God),  but  only  one,  85  (2),  has  a  refrain. 

STROPHIC  CONSTRUCTION. 


Passage       Number 
cited,     of  Stanzas. 

Lines 
in  Stanzas. 

Syllables. 

Rhyme-Order. 

[85] 

(iB), 

1-18. 

3 

6 

IO 

a 

a 

b 

a 

a  b 

19-26. 

i 

8 

IO 

a 

b 

a 

b 

b  c 

b  c 

27-30. 

i 

4 

IO 

a 

b 

a 

b 

(2), 

1-40. 

5 

8 

8 

a 

b 

a 

b 

b  c 

b  c 

41-44. 

i 

4 

8 

a 

b 

a 

b 

[86] 

(iA), 

1-8. 

2 

4 

8 

a 

b 

a 

b 

9-40. 

5 

8 

8 

a 

b 

a 

b 

b  c 

b  c 

41-44. 

i 

4 

8 

a 

b 

a 

b 

[86] 

(iB), 

1-24. 

3 

8 

8 

a 

b 

a 

b 

b  c 

b  c 

25-28. 

i 

4 

8 

a 

b 

a 

b 

(2), 

1-24. 

3 

8 

8 

a 

b 

a 

b 

b  c 

b  c 

25-28. 

i 

4 

8 

a 

b 

a 

b 

Two  mysteries  with  five  prologues. 

The  eight  line  stanza  found  in  all  five  prologues  with  the 
rhyme-order  (ababbcbc). 


Versification  and  Language.  53 

The  six  line  found  once,  in  ten-syllable  lines  with  order 
(aabaab).  The  four  line  stanza  ends  all  five  prologues. 
Rhyme-order  (a  b  a  b). 

Rhyme-words. 

In  contrast  to  the  syllabification,  the  rhyme  is  fairly  cor- 
rect. These  are  two  cases  of  rhyme  of  same  word  with 
same  meaning ; 

[84],  21-24.     Et  en  lur  chamin  van  trobar 

Huna  hostalaria, 
En  la  qualla  van  trobar 
Una  serventa  nonaya  Beatrix. 

[85]  (lA),          3-4.     E  a  crea  lo  eel  e  la  terro, 

Nos  mande  pas  de  eel  en  terro. 

Quite  a  number  of  cases  of  rhymeless  lines  are  found, 
principally  however  in  84. 

Single  lines; 

[80]  (iA),      35-37.     La  sustancio  si  exellent 

Adiou  vous  die  tot  de  present, 
Congiet  prenoc  de  vous,  amis. 

[84],  11-15.     Bonas  gens,  an  breu  parlar, 

Un  miracle  vos  volen  mostrar 
De  sant  Jame,  en  veritat, 
Et  si  voles  de  cor  Dieu  servir 
E  a  sanct  Jame  voles  hobier 

19-26.     Se  partigron  de  bon  corage 
Per  anar  en  romavage, 
Et  en  lur  chamin  van  trobar 
Huna  hostalaria, 
En  la  qualla  van  trobar 
Una  serventa  nonaya  Beatrix, 
E  lo  filh  del  pellegrin  priar 
Que  le  deguessa  donar  desa  amor 


54  Versification  and  Language. 

[84],  41-43-     Que  ella  fossa  vengada, 

Car  el  lavia  refueso 
Et  del  demon  fonc  tentea, 

72-76.     Per  so  vulhas  ben  entendre 

Et  en  vostra  memoria  conpendre 
Los  personages  que  jugaran, 
Que  vulhas  ben  auvir 
Et  los  dis  retenir 

85-89.     Et  si  la  feron  cremar 
E  la  van  butar, 
Car  ella  vo  avio  ganhat. 
Mantenant  non  vos  dich  plus, 
Car  vos  ho  declayraren  per  dessus 

94-96.     Et  los  angils  f aren  cillate ; 

Et  qui  dieu  comensar  comense, 
Car  es  causa  convenabla. 

In  84,  13-16,  there  are  three  lines  with  the  same  rhyme 
preceded  by  a  rhymeless  line;  in  84,  71-74,  there  are  three 
similar  lines  followed  by  a  rhymeless  line. 

Rhymeless  pairs; 

[84],  5-6.     De  tot  mal  garder 

Dieus  que  nasque 

79-80.     Per  la  requesta  de  Jesus  Christ, 
Miracle  al  pellegrin  fet, 

[85]  (iA),      27-28.     Et  affim  que  puchan  accomplir 
So  que  al  cor  aven  de  far, 

No  attempt  at  fanciful  rhyming  is  made.  No  examples 
of  grammatical,  equivocal,  leonine  or  broken  rhymes  are 
found. 


Versification  and  Language.  55 

The  rhyme-words  in  these  prologues  are  relatively  of 
little  value  in  fixing  the  language  of  the  period.  The  fol- 
lowing examples  however  are  worthy  of  notice;  81,  21-22, 
Dalphim:  marci;  81,  53-54  finis:  falhir  and  line  45-46 
ouvrir:  falhir;  84,  59-60,  sostenir:  servit;  84,  line  83-84, 
Beatrix:  marit;  86  (iA),  10  and  12,  pax:  bas;  86  (iB), 
2  and  4,  assemblas:  pax;  86  (2),  5  and  7,  intras:  pax; 
86  (2),  18  and  20,  martirs :  murtris ;  80  (i A),  9-10,  passion : 
Andriou;  81,  line  47,  predicano:  valor;  81,  line  31-32, 
segnors:  nous;  8 1,  line  91-92,  trey tous:  colors;  107-108, 
dosour:  honor;  85  (2),  line  33  and  35,  cros:  precious; 
84,  line  1-2,  consolatium:  senhor;  81,  line  81-82,  paures: 
bens. 

Imperfect  rhymes;  81,  line  65-66,  oncle:  veyre;  81,  line 
99-100,  Paul:  eternal;  84,  line  25-26,  priar:  amor;  84, 
41-43,  vengada :  tentea;  84,  61-62,  petis  :  dichs  ;  84,81-82, 
gardar:  declararen;  84,  92-93,  ariero:  maniera;  84,  94- 
95,  dilate:  commense;  85  (iA),  11-12,  Paul:  faut;  85 
(2),  20-21,  guerro:  guerre;  85  (2),  41,  inviseble  ("sic"): 
intelligible. 

3-         OVERFLOW  VERSE. 

Cases  of  overflow  verse  are  rare.  The  following  exam- 
ples are  found : 

[81],  75-77 •     D'autro  part,  el  rendre 

Sa  sorre,  e  la  metre 
Al  servici  de  nostre  Segnor, 

[85]  (iB),       10-12.     Affin  que  mieys  poisson  contemplar 
Lour  salut,  per  lo  mal  retardar, 
Qui  en  aquest  monde  plusors  desvio. 

(2)>         33~36-     Juja  sare  murir  en  cros 

L'apotol  Peyre,  debonayre, 
Et  son  compagnon  precious 
Paul,  talha  la  testo,  maltrayre. 


56  Versification  and  Language. 

[86]  (iB),          5-8.     Et  si  veyre,  de  pas  en  pas, 
Personagear  la  bello  ystorio 
De  sanct  Pons ;  et  n'y  f  alhe  pas 
D'y  mettre  ben  vostro  memorio. . 

21-24.     Vivent  sanct  Pons  si  doulcement 
Ambe  los  meindres  et  los  mours 
Se  fee  amar,  et  talloment 
Qu'el  couvertec  dos  emperours. 

(2),         13-16.     Plasso  a  vostro  discretion 
Retenir  las  diversitas 
De  sos  tormens ;  per  fiction 
Ellos  vos  saran  recitas. 

4.      BROKEN  COUPLETS. 

Broken  couplets  are  also  rare  with  the  exception  of  [81] 
where  they  are  very  frequent. 

Examples: 

[So]  (iA),      34-36.     Mas  vulha  metre  en  effet 
La  sustancio  si  exellent. 
Adiou  vous  die  tot  de  present, 

(iB),      27-28.     Et  tot  per  aver  paradis. 

Congiet  prenoc  de  vous,  amis. 

[81],  H-I2.     Y  eso  per  bello  historic  patent. 

Ar  escota  nobla  gent, 

113-114.     Per  los  seos  frayres  servir. 

D'autres  chausas  auvire  plusors  finyr, 

117-119.    Vos  las  veyre  per  experiencio. 
Plaso  a  Dio,  per  sa  clemencio, 
Que  vos  i  done  tal  devocion 


Versification  and  Language.  57 

[84],  1-9.     Pas  et  consolatium 

Vulha  donar  nostre  senhor 
Aquesto  conpanhio  bello, 
Et  la  vuelha  per  sa  cortissio 
De  tot  mal  gardar. 
Dieus  que  nasque 
De  humana  natura 
E  duna  berges,  neta,  pura, 
Nos  don  far  tal  portamen 

71-72.     Sera  gardat  de  tot  mal  aprendre. 
Per  so,  vulhas  ben  entendre, 

[85]  (lA),      10-12.     Et  houci  per  lo  intersession 

De  sanct  Peyre  et  de  sanct  Paul. 
On  voz  suplio,  et  bas,  et  faut 

14-18.     Et  que  ung  chascun  fasso  silensio 
Trestouz  ensemps  be[ni]gnoment. 
Li  personage  heyci  prezent, 
Mogu  de  uno  grant  devotion, 
Si  an  entrepris  la  passion. 

Other  examples;  [81],  lines  21,  22,  37-38,  39-40,  45- 
46,  49-50,  59-60,  65-66,  69-70,  71-72,  81-82,  85-86,  93-94, 
95-96,  101-102,  115-116,  [84]  71-72. 


58  Versification  and  Language. 


VI. 

v 

JOINING  OF  PROLOGUES  TO  MYSTERY. 

Five  of  the  eleven  prologues  are  joined  to  the  mystery  by 
the  same  rhyme. 

[80]  (iA),  37.     Congiet  prenoc  de  vous,  amis. 

Rex  Murgundie. 
i.     Grandoment  soy  esbay, 
(iB),  28.     Congiet  prenoc  de  vous  amw 

Rex  Murgundie. 
i.     Grandoment  soy  esbay, 

[84],  96.     Car  es  causa  convenablo. 

Lo  Fol. 
i.     Ola,  ola,  jeu  venho  de  franca 

[85]  (iB),  30.     Prenent  ung  pauc  de  paciencio. 

Simon  Magus. 
i.     Jou,  Simon,  qui  en  art  magiquo 

[86]  (iB),  28.     Eyssint  poyren  principiar. 

Philipus  Imperator  Pater. 
I.     Puisque  Jupiter  dominar 

[80]   (iA),  is  a  later  form  of  [80]   (iB).     Both  were  not 
used  for  the  same  representation. 

No  distinction  is  made  between  the  syllabification  of  the 
prologue  and  of  the  first  speech  of  the  dialogue. 


Versification  and  Language.  59 


VII. 

BRETON  MYSTERIES. 

No  attempt  has  been  made  to  study  carefully  the  versi- 
fication in  the  prologues  of  the  early  Breton  mysterie's,  a 
thorough  knowledge  of  the  dialect  being  necessary  for  this. 
Written  in  a  dialect  not  understood  by  the  rest  of  France, 
they  had  little  or  no  influence  on  the  general  development 
of  the  French  mystery. 

The  prologue  is  very  different  from  the  other  prologues 
as  to  nomenclature,  form  and  subject  matter. 

It  seems  more  artistic  and  more  developed  and  would 
seem  to  belong  to  the  beginning  of  the  sixteenth  century  in 
spite  of  the  historical  evidence  to  the  contrary  presented  by 
the  Breton  editors. 

The  idea  of  a  later  date  than  that  usually  assumed  by 
the  editors  is  supported  by  M.  Paul  Meyer1  and  by  M.  A. 
Thomas,2  who  makes  likewise  the  statement  that  the  Breton 
works  are  a  direct  imitation  of  French  models. 

The  following  mysteries  were  examined ;  [A]  Buhez  Sant 
Gwennole,  [B]  Buhez  Santez  Nonn,  [C]  Le  Grand  Mystere 
de  Jesus,  [D]  Saint  Maxent  (Galigzon),  [E]  La  Creation 
du  Monde,  [F]  Sainte  Barbe. 

The  prologues  of  C  and  F  alone  were  considered,  the 
others  having  no  prologues  or  being  so  reworked  as  to  have 
little  original  value. 

The  dates  of  these  mysteries,  as  given  by  the  editors,  are 
[C]  about  1365  ;  [F]  copy  of  1557  edition.  Both  prologues 
are  in  five  syllable  verse.  The  first  speech  of  the  mystery 
is  different  as  to  rhyme-word  and  also  as  to  syllabification. 
In  [C]  the  dialogue  begins  in  eight  syllable  verse,  in  [F] 
it  has  ten  syllable  lines.  The  introduction  or  second  pro- 
logue of  F  is  in  eight  syllable  lines. 

"Rimes  melees"  alone  are  used.  The  same  rhyme  order 
(a  a  b  c  c  b)  is  used  in  the  prologues  of  C  and  F  and  also 

1  Revue  Critique  1866,  p.  219.  *  Rom.  xxxn,  p.  630. 


6o  Versification  and  Language. 

in  the  first  speech  of  the  dialogue  of  C  and  introduction 
of  F.  The  dialogue  of  F  begins  with  the  order  (a  a  b  a  a  b). 

Both  the  syllabification  and  the  rhyming  seem  done  with 
more  care  than  in  the  most  of  the  French  and  Provencal 
prologues,  thus  furnishing  additional  evidence  of  the  early 
development  of  the  Breton  mystery  or  for  a  later  date  than 
that  given  by  the  editor  of  [C]. 

The  prologue  and  first  dialogue  speech  of  [C],  together 
with  the  translation  is  given,  page  137. 


PART  II 

GENERAL  CHARACTERISTICS. 

I. 

OBJECT. 
General  Statement. 

The  discussion  of  the  object  of  the  prologue  is  the  longest 
and  most  important  division  of  those  indicated  above.  The 
uses  of  the  prologues  were  manifold.  Usually  given  in  the 
form  of  a  sermon  with  Latin  texts  interspersed,  it  was  used 
also  with  other  aims  than  those  of  teaching  religious  truths. 
The  outline  and  analysis  of  the  following  "journee"  of  the 
mystery  was  given  or  a  brief  "resume"  of  the  preceding 
"journee." 

No  attempt  was  made  to  excite  the  curiosity  of  the  audi- 
ence by  withholding  the  "denouement"  of  the  play.  On 
the  contrary,  the  ending  of  the  mystery  was  outlined,  in  as 
attractive  form  as  possible,  in  order  to  prevent  the  specta- 
tors from  leaving  before  the  conclusion  of  the  piece. 

The  plea  for  silence,  met  so  frequently,  is  the  natural  out- 
growth of  the  need  of  quieting  an  uncultured  audience, 
wearied  by  the  long  representations,  which  were  composed 
largely  of  wearisome  monologues,  lacking  in  stage  action. 
That  this  restlessness  did  exist  may  be  known  from  the 
frequency  of  these  requests  and  from  the  fact  that  the  most 
powerful  arguments  possible  were  used  to  support  them. 
Pleas  were  made  on  the  ground  of  devotion,  the  wonderful 
things  to  be  seen,  the  blessings  of  Heaven,  and  on  the 
other  hand,  threats  were  proffered  of  Heaven's  displeasure, 
of  loss  of  great  moral  profit  and  even  of  bodily  discomfort. 


6a  General  Characteristics. 

We  constantly  find  apologies  for  the  acting,  and  expres- 
sions of  fear  lest  the  subject-matter  should  not  be  fitting. 
The  fear  of  the  disapproval  of  the  Church  is  very  apparent. 

A  rather  noticeable  fact  is  that  there  are  no  polemics 
found  in  these  prologues,  no  attacks  on  rivals,  no  controver- 
sies over  religious  questions.  The  contrary  is  in  evidence 
everywhere,  there  seeming  to  be  the  general  desire  to  please 
everybody.  Carefully  worded  and  politic  praise  is  given  the 
ruling  powers,  political  and  religious;  in  some  cases  the 
names  of  these  rulers  are  given. 

As  would  be  expected  in  a  sermon,  numerous  prayers 
for  blessing,  and  exhortations  to  the  people  to  lead  a  devout 
life,  are  pronounced.  Continued  requests,  more  or  less 
trite,  are  made  for  heavenly  aid  in  the  performance  of  the 
mystery. 

Explanations  of  the  stage-setting  are  made  at  times  by  the 
prologuist,  but  often  these  directions  are  indicated  simply 
by  the  "ecriteaux"  hung  on  the  different  "mansions." 

The  sources  of  the  mysteries  are  rarely  given,  but  occa- 
sional mention  is  made  of  the  canonical  and  apocryphal 
scriptures,  and  the  lives  of  the  saints. 

The  author  often  gives  at  some  length  his  reasons  for 
writing  the  mystery,  reasons  which  are  usually  explained  as 
emanating  from  a  desire  to  further  the  cause  of  devotion, 
no  mention  being  made  of  the  "livres,  sous  et  deniers"  which 
were  received  for  the  execution  of  the  work. 

The  general  object  of  the  prologues  is  clearly  moral,  and 
very  little  that  is  amusing  is  found  in  them.  Some  of  the 
irregular  types  have  the  form  of  farcical  introductions  by 
the  "Fol,"  the  "Tirans,"  the  Shepherds,  etc.,  but  these 
may  not  be  considered  as  prologues  proper. 

These  different  phases  of  the  question  will  now  be  taken 
up  separately,  with  examples  of  each.  Only  a  few  illus- 
trations will  be  given  in  the  body  of  the  text,  the  complete 
list  being  given  in  Appendix  II. 


General  Characteristics.  63 

•   i.     SERMON. 

The  typical  form  of  sermon,  leaving  for  separate  treat- 
ment the  questions  of  silence,  apology,  etc.,  which  are  con- 
stantly met,  is  as  follows:  A  short  Latin  scriptural  text  is 
given  at  the  beginning  and  repeated  occasionally  in  the 
course  of  the  sermon,  or  with  other  Latin  texts  taking  its 
place  and  serving  to  mark  the  divisions  of  the  subject.  The 
first  twenty  or  thirty  lines  are  given  up  to  an  exhortation 
or  prayer,  ending  with  the  salutation  ("De  Gabriel,  le  beau 
salut")  to  the  Virgin,  "Ave  Maria."  Then  the  ordinary 
sermon  matter  follows,  sometimes  woven  into  the  analysis 
of  the  mystery,  and  which  ends,  apologies,  introductions  of 
actors,  etc.,  not  considered,  with  another  "Ave  Maria," 
exhortation  or  prayer. 

The  Latin  texts  are  usually  short,  a  few  lines  only,  some- 
times ending  with  the  word  "etc.,"  thus  leaving  their  com- 
pletion to  the  prologuist.  They  were  chosen  with  special 
reference  to  the  subject-matter  of  the  mysteries.1  Thus 
in  [19]  "La  Passion"  of  Arnoul  Greban  we  have  in 
"Journee"  (lA)  before  the  passion  of  Christ: 

Veni  ad  liberandum  nos, 
Domine  Deus  virtutem ! 

In  J.  4,  where  the  resurrection  is  treated : 

Resurrexi  et  adhuc  tecum  sum. 
In  [76],  La  Vengeance  nostre  Seignuer  ; 

Quare  fremuerent  gentes,  et  populi 

meditati  sunt  inania. 
In  [i5],Le  Jugement  de  Dieu ; 

Omnes  nos  manifestari 

oportet  ante  tribunal  Christi, 

ut  referat  unusquisque 

prout  gessit  in  corpore, 

sive  bonum,  sive  malum.. 

1  For  list  of  Latin  texts,  see  Appendix  II,  p.  140. 


64  General  Characteristics. 

In  [14],  La  Patience  de  Job; 

Sit  nomen  domini  benedictum 
In  [73],  Le  Geu  des  trois  Roys; 

Vidimus  stellam  ejus  in  Oriante,  et  venimus 
cum  muneribus,  adorare  Dominum. 

Commonly  these  texts  were  developed  freely,  this  analysis 
being  in  some  cases  carried  to  the  extreme,  each  separate 
word  being  given  a  very  exaggerated  meaning.  The  influ- 
ence of  the  bestiaries  might  be  suspected  here.  An  example 
of  this  kind  of  analysis  is  found  in  the  treatment  of  the  text 
"Verbum  caro  factum  est"  in  [27].  Here  each  of  the  four 
words  forms  the  subject-matter  of  a  twelve  line  stanza,  and 
represents  the  exposition  of  a  divine  fact.  The  following 
first  stanza  of  this  prologue  shows  the  resemblance  in  style 
to  that  of  the  bestiaries ; 

[27]  J.  i,  line  26. 

"Verbum  caro  factum  est." 
Par  ces  quatre  motz  que  jay  pris, 
Seront  entendus  et  compris 
Quatre  faitz  de  dieu  merveilleux; 
Le  premier  est  de  si  grant  pris 
Que  tous  angeliques  espris 
Excede,  et  la  terre  et  les  cieulx. 
Cest  verbum,  le  tresglorieulx 
Filz  de  dieu,  sainct  et  lumineux, 
Engendre  en  divine  essence, 
Lequelles  materielz  yeulx 
Ne  peussent  done  veoir  pour  le  mieulx, 
Men  tais  en  devote  silence. 

The  same  treatment  is  found  in  [29]  (4) ,  where  the  text 
"Surrexit  Dominus  vere"  is  dissected  and  each  word  is 
given  a  broad  and  imaginative  meaning. 

Various  settings,  more  or  less  trite,  are  given  for  the 
salutation  "Ave  Maria."  The  following  are  the  most 
common : 


General  Characteristics.  65 

A.  The  simple  verbal  salutation; 
19    ( i A),  130.         en  disant,  "Ave  Maria." 

B.  The  salutation  with  the  action; 
9    (A),      69.         Courons  a  son  ymaige, 

Les  genoux  flexchissons, 
En  reguardant  sa  face, 
Et  ave  Maria  ly  disons 

C.  Combined  with  the  "pater  noster;" 
33    (2),       28.         si  en  dirons,  sans  plus  despace, 

et  sans  bouger  de  nostre  place 
Pater  noster,  je  vous  en  pry, 
et  ave  maria,  aussi. 

D.  The  salutation  of  the  angel,  Gabriel; 
[73],               15.         Du  salut  qui  nous  conforta 

Quant  Gabriel  ly  apporta 
Du  vouloir  Dieu,  en  revelant, 
Sy  disons,  en  luy  appelant 
A  genous :  "Ave  Maria." 

The  sermon  contains  frequent  prayers,  invocations  of 
blessings,  and  exhortations  to  good  works.  "May  God  and 
the  Virgin  pardon  and  save  the  'compaignie,'  bless  the 
rulers  of  the  land,  help  the  author  and  the  actors,  bless 
those  who  listen  attentively,  aid  their  understanding  and 
finally  open  Paradise  to  all."  These  prayers  are  mingled 
with  exhortations  to  pray,  to  serve  God,  to  listen  in  silence, 
and  to  remember  the  lesson  of  the  mystery. 

Examples: 

[17],  line  i.     Dieu,  Pere  et  Fils  et  Saint  Esperit 

Sauve  et  gart  ceste  compaignie ! 
19  (4),  167.     Je  pry  Dieu  qu'il  veille  conduire 
tous  nos  entendemens,  affin 
que  nous  la  puissons  traire  a  fin 

[14],  line  i.     Cheres  gens  au  commencement, 

Nous  prierons  tous  tres-humblement 
Nostre  seigneur  en  ceste  place 


66  General  Characteristics. 

[14],  Qu'il  nous  doint  trestous  sa  grace 

A  moy  sur  tous  premierement 

.Et  puis  a  vous  secondement. 
[52],          2.     Que  pais,  joye,  lyesse  et  bon  jours 

Soit  donne  a  trestous  vous ; 

Sainte,  bonne  vie  et  grace. 

Et  de  bien  vivre  a  tous  espace 

Vous  donne  Dieu,  tout  maintenant. 
[58],  i.     En  nom  du  pere  et  du  filz, 

Du  sainct  esperit,  en  unite, 

Entendez  tous,  grans  et  petis, 

Ung  faict  de  hault  auctorite.1 

The  aid  of  God  is  continually  invoked,  although  in  a  phras- 
ing so  trite  that  it  is  almost  meaningless.  The  expressions 
"S'il  plaist  a  Dieu,"  "Se  Dieu  plaist,"  "a  1'ayde  Dieu," 
appear  constantly,  used  often  simply  to  fill  in  a  line  of 
poetry.2 

The  hortatory  style  is  freely  used,  continuous  attacks 
being  made  on  pride,  luxury,  avarice,  gluttony,  laziness,  and 
these  teachings  are  supported  by  incidents  from  the  lives 
of  saints  and  from  the  Bible.  Proverbs  and  various  kind 
of  comparisons  often  occur,  but  are  not  so  abundant  as  in 
the  "romans  d'aventure"  and  other  earlier  forms  of  litera- 
ture. Prologue  [67],  lines  77-109,  with  its  Jeremiads,  is 
of  interest  through  its  resemblance  to  the  Provengal  tirades 
of  the  twelfth  and  thirteenth  centuries  "tug  so  mentidor 
o  laire."  3  The  same  complaint  is  found :  "Love  is  dead 
now,  and  Charity  hath  departed;  all  men  formerly  were 
brothers  and  loved  each  other,  but  the  language  alas,  has 
changed.  To-day  we  see  the  one  in  court  against  the  other, 
seeking  his  possessions  and  lying  against  him." 

"O  faulce  envie,  tu  regnes  bien 
maintenant  par  tout  le  monde." 

1  For  other  forms,  see  Appendix,  p.  144. 

2  See  Appendix,  p.  148. 

8  A  Restori,  Letteratura  Provenzale  VII,  §  6. 


General  Characteristics.  67 

Many  of  the  quotations  are  from  biblical  sources,  but 
most  of  the  proverbs  and  comparisons  are  taken  from 
secular  literature.  Especially  is  this  true,  in  [10]  "La 
Destruction  de  Troie,"  where  the  prologue  is  allegorical 
rather  than  religious.  The  Latin  quotations  are  religious 
in  tone,  with  the  notable  exception  of  [48]  (3),  line  8: 
"Hysteria  est  lux  veritas." 

Many  of  the  proverbs  and  comparisons  are  easily  recog- 
nizable as  common  to  the  mediaeval  writers,  thus  [4],  47 
and  [32],  84,  plus  douls  que  sucre ;  [10],  16,  plus  cler  que 
les  sept  planectes ;  line  46,  Vers  le  ciel  te  haulses  autant 
que  leaue  de  la  mer  est  parfonde ;  line  162,  droictes  comme 
jons;  [19],  (3),  95,  il  resplendy  comme  1'or;  [29],  (4), 
31,  Celui  qui  sert  et  ne  persert,  Souventes  fois  son  loyer 
pert;  [32],  13  and  [73],  13,  Comme  non  pareil  de  value; 
[58],  79,  Qui  de  mal  serviteur  se  sert,  La  chevance  ou  la 
vie  en  pert;  [58],  106  and  [68],  147,  Plus  tost  que  la  poste 
[65],  27,  moins  dun  cleu ;  [67],  54,  Autant  en  pourte  le 
vent;  line  150,  Ardent  que  le  feu;  line  155,  Com  le  charbon 
f et  en  la  forge ;  line  227,  scil  qui  chasse  et  rien  ne  prent. 


2.       PROVERBS   AND   COMPARISONS. 

The  common  aphorisms  are  not  nearly  so  frequent  as 
one  would  expect  in  moralizing  speeches  of  this  kind. 
Some  examples  are  found,  such  as:  [10],  293  Qui  bien 
commence,  La  fin  vient  a  son  appetit;  [26],  23  Qui  bon 
maistre  sers,  bon  loier  atent;  33  (lA)  en  ce  monde  ne  con- 
verse, Si  bon  charetier  qui  ne  verse;  48  (2),  40  Nul  n'est 
parfait;  [65],  88  Bon  fruit  porte  bon  geton ;  [67],  75 
Apres  orgueil  si  vien  envie,  etc. 

Of  the  frequent  religious  comparisons,  the  following  are 
most  common:  (/)  Comparison  of  the  birth  of  Christ 
to  the  sun  passing  through  the  glass,  [4],  10  "Come  le 
soleil  la  voirriere,  Trespasse  et  si  remaine  entiere,  Sans  la 
corrompre  nullement."  The  same  idea  is  found  in  the 
expression,  frequently  found :  "Sans  tache  amere."  (-?) 


68  General  Characteristics. 

Christ,  called  the  "fruit  de  vie  ;"  4,26;  19(1  A),  197;  32, 
61 ;  35,  86.  (5)  The  Virgin  compared  to  the  tree  of  life, 
65,  91  "Le  fruit  le  filz,  laubre  et  la  mere,  le  saint  estoc  ce 
fut  le  pere."  (4)  Christ,  the  tree  of  life ;  the  leaves  repre- 
sent his  sermons,  the  flowers  are  the  virtues,  the  fruit  is  the 
redemption.  (5)  The  Virgin,  treasurer  of  grace;  "Vierge 
tresoriere,  de  grace  aulmoniere."  19  (4),  7;  20  (4),  3;  29 
(3),  6;  29  (4),  36. 

Other  interesting  comparisons,  uncommon,  if  not  original, 
are:  (i).  10,  185  The  allegorical  guardian  of  the  tree  of 
the  "lignee  de  France"  names  herself  "Devotion,"  "Qui 
ay  tousjours  de  ceulx  de  France,  Este  nourrie  et  reclamee." 
(2).  29,  (4),  6 1  Le  jour  d'hier  mort  nous  signifie,  Le  jour 
d'huy,  nous  presente  vie.  (3).  48  (2),  6.  Se  Cesar  cut 
bruyt  de  victoire  .  .  .  aussi  eut-il  honneur  d'escripre. 
(4).  67,  152  Si  largent  estoit  coules  dung  avaricieulx  pour 
la  gorge,  il  ardroit  tou jours,  si  voules,  com  le  charbon  fet 
en  la  forge.1 

3.      MENTION  OF  SOURCES. 

Reference  is  made  rarely  to  the  sources  from  which  the 
author  drew  his  inspiration ;  these  references  are  made 
usually  in  support  of  some  statement  in  the  sermon.  The 
sources  mentioned  are  usually  the  Scriptures,  canonical  and 
apocryphal,  the  articles  of  the  Faith,  the  doctors  of  the 
Church,  and  the  lives  of  the  saints.  In  the  more  secular 
prologues,  we  find  reference  to  the  chronicles  and  histories, 
and  in  "La  Destruction  de  Troie,"  simply  mention  of  a 
book  on  Troy,  written  in  Latin,  and  in  prose. 

Some  of  the  terms  used  were :  "1'apocryphe  et  escript, 
selon  1'escrit,  euvangile  sans  apocriphe,  escriptures,  es  livres, 
articles  de  foy,  livre  de  Sapience,  plusieurs  docteurs, 
Egesipus  le  docteur  autentique,  theume  prinse  du  bon  David, 
"es  hystoires,  par  cronicque  expresse,"  and  for  Troie  "un 
livre  faisant  des  troyans  mencion."2 

1  List  of  proverbs  and  comparisons,  see  Appendix,  p.  149. 
1  For  exact  wordings,  see  Appendix,  p.  155. 


General  Characteristics.  69 

4.     ERUDITION. 

Very  little  erudition  is  shown  by  the  authors  of  the 
mysteries  in  the  composition  of  the  prologues.  A  knowl- 
edge of  biblical  history  and  an  acquaintance  with  other 
religious  writings  was,  of  course,  necessary,  and  is  apparent 
in  the  works.  The  use  of  certain  of  the  proverbs  and  com- 
parisons would  imply  a  knowledge  of  some  of  the  Old 
French  narrative  writings.  The  authors  of  [27]  and  [29] 
had  probably  read  one  at  least  of  the  bestiaries,  judging 
from  their  treatment  of  the  Latin  text.1  Some  knowledge 
of  legal  terms  is  denoted  by  the  use  of  "instrument"  and 
"acte."  The  author  of  [10]  read  Latin,  was  acquainted 
with  some  of  the  "romans  d'adventure"  and  had  a  con- 
siderable knowledge  of  heraldry.  In  the  mysteries  dealing 
with  the  lives  of  the  saints,  references  to  various  political 
rulers,  Roman  Emperors,  Kings,  etc.,  denote  some  acquaint- 
ance with  political  history,  but  the  incorrectness  and  indefi- 
nite nature  of  these  references  themselves  show  that  this 
acquaintance  was  slight.  In  two  prologues  we  have  refer- 
ences to  Jupiter,  Mercury,  Venus,  Mars,  but  their  uses 
would  require  no  scientific  knowledge. 

The  author  of  [48],  Guillaume  Flamang,  both  as  to  the 
lyrical  composition  of  his  prologues,  and  subject-matter, 
seems  more  advanced  than  the  other  writers.  In  his  pro- 
logues we  find  references  to  "Aristote,  Saluste,  Cesar, 
Isidorus,  Tulius,  Orose,  le  Fascicule  episcopal,  le  Miroir 
historial."  His  ideas  seem  original  and  are  well  expressed. 
He  uses  the  one  secular  Latin  quotation  found,  quoting 
from  Cicero,  "Hysteria  est  lux  veritatis." 

The  frequent  use  of  Latin  in  the  prologues  is  what  might 
be  expected  from  the  nature  of  the  subject,  and  from  the 
fact  that  the  authors  were  "clercs"  themselves  or  were 
materially  aided  by  them.  Almost  all  of  the  quotations  are 
from  the  Latin  Bible  or  are  taken  from  parts  of  the  church 
service.  In  some  cases,  the  form  is  changed  in  order  to 
suit  more  exactly  the  subject.  A  good  example  of  texts 

1  See   "Sermon,"  p.  64. 


70  General  Characteristics. 

taken  from  the  Bible  is  found  in  15  (3B).1  The  Latin 
verses  of  the  prologue  will  be  given,  followed  by  the  exact 
biblical  text; 

15  (36),  line  1-5.         Le  Messagier. 

Omnes  nos  manifestari 
oportet  ante  tribunal  Christi, 
ut  referat  unusquisque, 
prout  gessit  in  corpore 
sive  bonum,  sive  malum. 

Cor.  II,  10.  Omnes  enim  nos  manifestari  oportet 

ante  tribunal  Christi,  ut  referat  unusquisque  propria  cor- 

poris,  prout  gessit,  sive  bonum,  sive  malum. 

Lines  15-17.  Congregabo  omnes  gentes 

in  valle  Josaphat, 
et  disceptabo  cum  eis. 

Joel  III,  2.  Congregabo  omnes  gentes,  et  deducam 

eas  in  vallem  Josaphat,  et  disceptabo 
cum  eis  ibi  super  populo  meo. 
Lines  24-27.  Ibunt  qui  bona  fecerunt 

In  resurrectionem  vitae 
qui  vero  mala  egerunt 
in  ignem  certe  aeternum. 

John  II,  5 :  29.  Et  precedent  qui  bona  fecerunt,  in 
resurrectionem  vitae,  qui  vero  mala 
egerunt,  in  resurrectionem  judicii 

Marginal  references  to  the  chapter  in  the  Bible  are  given, 
and  the  verses  are  introduced  by  the  sentences  "le  prophete 
Joel  le  dit"  and  "S.  Jean  le  dit." 

A  considerable  display  of  erudition  was  made  by  most  of 
the  authors  for  the  benefit  of  the  "simples  gens."  The 
examples  of  sources  quoted  above  shows  this  intention,  con- 
stant mention  being  made  of  "1'escrit,  les  livres,  les  docteurs, 
les  hystoires,  les  cronicques,"  etc.  A  display  of  astronomi- 
cal learning  is  made  in  [18]  28; 

'Ms.  15063,  B.  N.,  Paris. 


General  Characteristics.  71 

Puis  fist  le  soleil  et  la  lime, 
Les  planectes,  et  nomma  Tune 
Mars  et  Venus,  1'autre  Mercure. 

Guillaume  Flamang,  who  undoubtedly  possessed  consider- 
able knowledge,  is  quite  ready  to  let  this  fact  be  known.  In 
giving  his  sources  in  J.  I,  line  98  of  [48],  he  says: 

A  convenu  investiguer  » 

Mainte  legende  et  mainte  histoire 

Come  sont  Orose,  Isidoire 

Le  Fascicule  episcopal, 

Aultre  cathalogue  notoire 

Et  le  Miroir  historial. 

Likewise  in  J.  (i)  lines  81-84,  he  shows  clearly  the  con- 
sciousness of  his  own  learning; 

Pourtant  s'en  nostre  euvre  jolye, 
Dont  trois  jours  dure  la  substance, 
L'on  parle  de  Galle  ou  Gallic, 
Entendrez  tous jours  que  c'est  France. 

At  the  beginning  of  each  of  his  three  prologues  he  devotes 
two  stanzas  to  a  glorification  of  the  historian  and  author. 
Also  at  the  beginning  of  his  second  "journee,"  he  has  the 
following  heading  written  in  Latin : 

"In  sequent!  vero  folio  incipit  secunda  pars,  scilicet 
quartirum  beati  Desiderii  et  bellum  Wandalorum  cum  eorum 
destructione." 

C'est  a  moy. 
Prevost. 

Following  this,  immediately  preceding  the  prologue,  is 
written : 

"Incipit  secunda  pars  hujus  operis." 

This  use  of  Latin  is  uncommon,  for  while  in  the  body  of  the 
mystery  the  directions  are  usually  in  Latin,  in  the  prologue, 


72  General  Characteristics. 

the  headings,  with  the  exception  of  texts,  are  ordinarily  in 
French. 

The  numerous  cases  of  Latin  rhyming  with  Latin  and 
with  French  have  been  given  under  the  subject  of  "Versifi- 
cation." Another  interesting  usage  was  the  employment 
of  a  Latin  word  instead  of  a  French  word  in  the  midst  of 
a  French  sentence. 

Examples: 

9  (A),      76.  Ad  ce  que  plus  encline. 

19  (iA),  152.  Ilia  vouldrons  laissier  1'istoire. 

33  (2),     142.  Item,  vous  verres  quatre  femmes. 

48  (i),     125.  Ont  illec  leurs  gens  amassez. 

58,  134.  Que  vous  voyez  illec  gisans 

65,  50.  Car  ad  ce  ne  povons  faillir. 

65,  151.  Venite  en  bonne  esperance  videte  et  faittes 

silence. 

Sometimes  several  Latin  words  were  employed,  as  in  the 
following  cases : 

9  (B),  24.  Feulla  flurit,  fit  fruit 

1 8,  27.  Mandavit  et  creata  sont. 

32,  113.  Puis  tost,  Nolly  me  tengere. 

33  (i),  40.  Descendit  ad  inferos,  dit 

35,  126.  En  Ynde,  en  ce  tempor  ilia. 

76  (i),  57.  Disent,  quare  fremuerunt  gentes 

?6  (3) >  95-  Cest  disrumpamus  vincula  et  cetera. 

Rabelais,  in  his  peculiarly  characteristic  employment  of 
Latin,  undoubtedly  drew  his  inspiration  from  these  com- 
positions. 


General  Characteristics.  73 

5.     AUTHOR'S  REASON  FOR  WRITING  MYSTERY. 
To  instruct  or  to  amuse. 

Considerable  space  is  given  by  the  authors  to  their  reasons 
and  inspiration  in  writing  the  mysteries.  The  most  of  these 
reasons  seem  lacking  in  sincerity,  and  produce  an  impression 
of  superficiality.  The  fear  of  offending  the  Church  and  of 
incurring  ecclesiastical  criticism  is  felt  throughout.  The 
fact  that  most  of  the  authors  were  "clercs"  does  not  war- 
rant the  continual  emphasis  laid  on  the  frequently  expressed 
intention  of  the  writer  to  teach  religious  lessons.  A  few  of 
these  expressions  are : 

17,  36.     Pour  les  bonnes  gens  inciter 

A  bonnes  euvres,  non  pas  f aintes, 
Et  pour  leurs  cuers  habiliter 
Envers  Dieu  par  doulces  complaintes 
Afin  qui  les  daigne  habiter. 

27,  1 06.     Pour  esmouvoir  les  simples  gens 

Les  ignorans,  les  negligens 

33  (iB),    80.     Et  en  ferme  foy  les  instruire 

68,  10.     Donnant  au  peuple  ediffication 

But  few  writers  express  even  indirectly  the  idea  of  any 
amusement  to  be  derived  from  the  piece.  In  the  few  cases 
where  this  thought  is  put  forth,  it  is  immediately  linked  to 
the  idea  of  "profitable."  This  is  shown  in  the  following 
cases : 

19  (4),     172.     La  matiere  en  est  bien  joyeuse, 
bien  profitable  et  f  ructueuse. 

14,  56.     C'est  une  histoire,  moult  plaisant 

A  toutes  gens  et  confortable 
Et  a  lame  moult  profitable. 

48(2),       13.     Qui  sont  a  oyr  delectables. 

Les  recours  en  sont  proffitables 
Et  font  corps  humain  resjoyr. 


74  General  Characteristics. 

An  apologetic  tone  even,  is  assumed  in  one  case  in  referring 
to  "resjouir." 

33  (2),       13.     Aussi  y  sont  par  intervalles 
aucuns  esbatemens  et  galles 
de  laveugle  et  de  son  varlet1 
Qui  gueres  ne  servent  au  fait 
si  ce  nest  pour  vous  resjouir 
et  pour  voz  esperitz  refreschir. 

The  same  author  in  J.  lA,  line  224,  speaks  simply  of  the 
mystery  as  "ung  plaisant  deduit." 

The  lesson  is  inculcated  "par  personnages,"  thus  explains 
three  prologues,  in  order  to  bring  it  more  closely  home  to 
the  "simples  gens,"  because  "plus  est  meu  le  cueur  de 
bone  part  veu." 

In  the  few  prologues  where  the  religious  spirit  seems 
rather  lacking,  coldly  moral  and  even  worldly  reasons  for 
writing  are  offered. 

The  author  of  [10]  states  that  "Devotion"  counselled 
him  to  write  "quelque  oeuvre  plesante"  on  the  tree  of  the 
lineage  of  France.  He  wrote  in  French  poetry  and  "par 
personnages"  because  former  accounts  were  written  in 
Latin  and  in  prose.  "Griselidis"  is  written  "A  lonneur  des 
dames  de  pris,"  to  be  "le  Miroir  des  dames  mariees"  in 
order  that  "par  raison,"  the  readers  may  rise  to  a  state 
of  perfection. 

The  author  of  [48]  philosophizes  freely  in  the  beginning 
of  his  three  prologues  as  to  the  human  thirst  for  knowledge, 
and  lauds  the  lofty  position  of  the  "descripteur"  and  "his- 
toriographe." 

Se  Cesar  eut  bruyt  de  victoire, 
Par  dessuz  tous  ceulx  de  1'empire, 
Aussi  eut  il  honneur  d'escripre. 

1  For  description  of  this  farce,  see  Les  Mysteres,  vol.  ii,  pp.  449-450. 


General  Characteristics.  75 

Other  authors,  as  well  as  Guillaume  Flamang,  frequently 
call  attention  to  the  merits  of  their  productions.  The 
author  of  [33]  says  that  he  is  treating  subjects,  lofty  and 
subtle,  difficult  to  reproduce,  of  so  great  "haultesse"  that 
without  the  aid  of  the  "clercs"  he  would  never  have  been 
able  to  attain  such  heights;  that  there  are  precious  things 
within  the  piece  and  delicious  to  the  taste.  He  warns  the 
people  against  losing  the  fruits  of  his  labor,  a  loss  very 
harmful  through  being  irreparable.  Let  no  one  seek  to 
amend  the  piece  "s'il  n'est  si  grant  clerc,  qu'il  le  sache." 

Many  authors  use  laudatory  terms  in  speaking  of  their 
work,  but  some  of  these  may  be  recognized  as  stock-phrases. 
The  following  are  found  often :  "Maintes  merveilles  et 
mainte  miracle  d'excellence  ;  matiere  bien  joyeuse,  profitable 
et  f ructueuse ;  noble  chose,  de  grande  valour ;  moult  est  a 
noter,  de  grant  devotion ;  et  de  mainte  autre  beau  mistere, 
vray  et  propice;  par  belle  demonstrance,  par  motz  elegans 
et  entiers,  par  figure,  pas  trop  obscure  etc." 

6.      THE   APOLOGY.1 

The  apology  plays  an  important  part  in  the  prologue,  as 
may  be  judged  from  the  previous  statements  as  to  the  fear 
of  clerical  displeasure,  and  the  desire  of  the  author  to  have 
the  approval  of  royalty  and  the  nobility.  The  sentence,  "se 
faulte  y  a,  pardonnez-nous"  is  a  very  common  one.  An 
effort  is  made  to  propitiate  the  common  people  as  well ;  in 
fact  to  win  protection  and  favor  from  all  classes  of  listeners, 
and  to  anticipate  and  ward  off  all  criticism.  Some  of  the 
apologies  are  unquestionably  mere  empty  forms,  but  taken 
as  a  whole,  they  show  that  the  necessity  for  them  existed. 

The  humble  tone  adopted  by  the  prologuist  is  often  exag- 
gerated and  does  not  always  accord  with  the  brusque,  exhor- 
tatory  words  of  the  sermon,  or  in  some  cases,  with  the 
sharpness  of  the  request  for  silence.  The  authors,  how- 
ever, evidently  realize  the  difficulties  of  their  task;  the 

1  For  complete  list  of  apologies,  see  Appendix,  p.  156. 


76  General  Characteristics. 

magnitude  of  the  subject-matter,  the  untrained  condition  of 
the  actors,  the  possible  unsuitableness  of  the  costumes,  and 
the  incompleteness  of  the  stage  settings.  This  is  seen  from 
the  following  apologetic  phrases : 

19  (iA),  113.     Se  la  reverance  de  vous 

faulte  y  voit  dessus  ou  dessoubz 
trop  dit  ou  faulte  de  langages. 

33  (iA),  119.     Trouvent  quelque  faulte  au  langage 

39  (2),       26.     Si  nous  faillons,  pardonnez  nous, 
Et  vueillez  nous  garder  de  blasme, 
Et  davecques  nous  estre,  tous. 
Sil  y  a  faute  de  lecture, 
Du  habit,  qui  ne  soit  honneste, 
Du  jouer  centre  lescriture. 

48  (i),       31.     Et  si  rien  y  a  vicieux, 

Supportez  rimperfection. 
(2),       39.     S'il  y  a  faulte  en  notre  fait, 

Vous  savez  que  nul  n'est  parfait. 

65,  142.     Mais  se  vous  nous  veez  mesprendre 

en  fait,  en  dit  ou  en  langaige 
ou  quaucun  ne  soit  assez  saige 
de  prononcier, 

The  question  of  the  difficulty  of  the  task  is  presented  to  the 
audience,  with  the  statement  that  the  best  attempt  possible 
would  be  made  to  do  justice  to  the  subject; 

12,  97.     Et  se  moins  bien  est  ordonne 

Questre  ne  deust,  pardonne 

Nous  soit,  car  mieulx  le  feissons 

Se  mieulx  faire  le  sceussons. 
J5  (3^),  52.  Car  de  joyer  perfectement 

ce  qu  il  adviendra  au  diet  temps, 

nos  seroit  du  tout  impossible. 
19  (iB),  21.  Car  la  maniere  du  produyre 

ne  se  peust  monstrer  ne  deduire 

par  effect,  si  non  seulement 


General  Characteristics,  77 

19  (iB),  grossement  et  figuraulment ; 

et  selonc  qu'il  nous  est  possible, 

en  verrez  la  chose  sensible. 
58,  7.     Qui  present,  sera  recite 

Au  mieulx  que  nous  le  pourrons  faire. 

Any  thought  of  attack  on  religion  or  nobility  is  carefully 
disclaimed,  "a  la  foy  contraire,  ne  qui  la  noble  seigneurie 
offende  ;  centre  droit  et  contre  la  saincte  Escriture ;  encontre 
Dieu,  ne  encontre  la  foy." 

Faults  found  in  the  piece,  and  in  some  cases  the  entire 
piece,  is  placed  verbally  "soubz  la  correction"  of  the  audi- 
ence and  of  the  authorities.  An  example  of  this  presenta- 
tion of  the  mystery  for  general  "correction"  is  in  [68]  ; 

68,  52.     Tout  soubz  vostre  (King  Rene)  correction 

benigne, 

Et  de  la  Royne  aussi,  nostre  princesse, 
Et  de  toute  la  seigneurie  digne, 
Esperons  faire,  ains  que  nostre  empris  cesse, 
En  requerant  la  sapience  adresse 
Du  bon  recteur  de  luniversite, 
Docteurs  et  clercs,  que  noz  faultes  adresse, 

In  addition  to  protecting  themselves  behind  the  authority 
of  the  church  and  royalty,  the  authors  of  three  of  the 
mysteries  went  further  and  invoked  the  judicial  power,  or 
at  least  made  use  of  legal  terms,  in  demanding  of  the 
notaries  present  a  formal  certificate,  the  "instrument." 

33  (3)  >       J3-     Et  instrument,  ains  que  me  taire, 
jen  requier  a  chascun  notaire 
Tant  en  latin  corrime  en  francois 

33  (iB),  104.     Nous  requerons  communement. 
A  tous  notaires  instrument 
Tant  de  court  laye  que  d'eglise 
Contenant  ce  que  je  devise. 

39  (i),     125.     A  trestous  notaires  publiques, 


7 8  General  Characteristics. 

39  ( i ) ,  Tous  dun  commun  consentement, 

Imperiaux,  apostoliques, 
Nous  en  demandons  instrument. 

68,  191.     En  toute  forme  et  maniere  propice, 

Que  licite  est,  demandons  haultement, 
Avant  qu  outre  proceder,  instrument. 

In  39  (2),  33,  we  find  also  the  legal  term  "acte." 

A  more  sweeping  manner  of  obtaining  security  from 
possible  blame  is  indicated  by  the  authors  of  [33],  [39]  and 
[68],  who  request  that  any  statement  in  their  plays  which 
might  be  construed  as  attacking  religion  be  considered  as 
unsaid  and  unwritten.  Also,  that  good  sense  should  be 
used  in  the  interpretation  of  all  the  doubtful  passages,  and 
that  if  any  faults  are  noticed,  they  should  be  forgotten. 
The  mistake  should  not  be  proclaimed,  for  any  person  who 
is  really  devout  would  not  hold  such  a  sacred  subject  up  for 
derision. 

In  spite  of  the  general  politic  tone  adopted  in  the  pro- 
logues, not  many  of  them  make  a  direct  allusion  to  royalty, 
in  order  to  win  favor  and  support.  We  find  this  personal 
reference  in  but  six.  They  are  as  follows:  In  [10]  we 
have  a  ballad,  with  the  refrain,  "Ung  C  qui  Charlie  signifie," 
addressed  to  Charles  VII,  Charles  d'Orleans  (le  poete)  et 
Charles  d'Anjour,  comte  du  Maine.1  In  [25]  (i),  a  ballad 
invoking  heavenly  blessings  upon  Francis  I,  the  Queen 
Claudia,  and  the  royal  family.  It  also  implores  aid  for  the 
"cite  du  Puy." 

I*1  [33]  (3)>  there  is  a  prayer  for  Rene  le  Bon,  King  of 
Sicily,  Count  of  Maine  and  Provence. 

In  the  prologue  of  [35]  also,  the  author,  Jean  le  Prieur, 
names  King  Rene  as  his  patron,  and  as  being  the  one 
responsible  for  the  writing  of  the  mystery. 

In  33  (iB),  we  find,  "A  la  bonne  correction  de  la  noble 
universite  d'Angiers,  Tancienne  cite,  et  pareillement,  sans 
debat,  de  monseigneur  nostre  prelat." 

1  Les  Mysteres,  vol.  ii,  p.  572. 


General  Characteristics.  79 

In  [68],  are  two  stanzas  addressed  directly  to  the  Count 
of  Maine  (King  Rene,  le  Bon)  ;  they  place  likewise  the 
play  under  the  correction  of  the  Queen,  the  nobility,  the 
rector  of  the  University,  all  learned  doctors,  clerks,  etc. 

7-      THE   PLEA  FOR   SILENCE.1 

One  of  the  most  important  aims  of  the  prologue  is  to 
obtain  silence.  The  necessity  for  constantly  repeated 
requests  for  silence  is  apparent,  if  one  considers  the  condi- 
tions under  which  the  performance  was  given.  Immense 
audiences  were  present,  the  numbers  running  into  the  thou- 
sands, spread  out  over  a  large  space  of  ground.  The  play 
was  usually  given  in  the  open  air  or  in  some  very  large 
edifice  where  the  stage  itself  was  simply  a  large  platform, 
built  up  without  regard  for  acoustic  properties.  The 
mysteries  were  long,  often  lasting  several  days,  with  regular 
performances  beginning  in  the  morning  and  continuing  all 
day.  The  audience  was  composed  largely  of  the  middle 
and  lower  classes,  a  people  unused  to  continued  intellectual 
effort.  The  actors,  for  the  most,  part,  were  untrained  in 
the  art  of  using  the  voice,  and  were  compelled  by  the  nature 
of  the  piece  to  recite  long  monologues,  relieved  by  very 
little  dramatic  action.  Comparative  silence  under  these 
circumstances  was  imperative. 

The  prologue  usually  begins  and  ends  with  a  request  for 
silence ;  other  requests  for  silence  are  scattered  through  it, 
some  of  which,  however,  serve  merely  to  fill  in  a  line  or 
round  out  a  period.  Ordinarily  the  attention  of  those 
present  is  drawn  by  a  personal  address  couched  in  florid 
language;  "Noble  et  magnifique  compaignie !"  (25  (i)  58), 
or  more  simply  "Seigneurs !"  The  crier's  summons,  heard 
still  in  our  own  law  courts,  is  used  once,  [56]  line  I,  "Oiies, 
oiies,  seigneur  et  dames." 

All  possible  means  are  used  for  emphasizing  this  appeal. 
Promises  and  blessings  are  scattered  freely ;  "Be  silent  and 

1  For  a  list  of  pleas  for  silence,  see  Appendix,  p.  163. 


8o  General  Characteristics. 

you  will  see  a  beautiful  mystery,  'une  chose  noble  et 
salutaire,'  at  which  the  heart  will  rejoice,  etc."  Curiosity 
is  aroused  by  a  brief  mention  of  what  is  to  come,  often  the 
first  actor  in  the  mystery  being  named ;  "you  will  see 
Archelans  reigning"  or  "Judas,  in  triumph" — "you  will  see 
many  an  apparition,  great  and  dolorous  facts,"  etc.  The 
great  profit  to  be  derived  from  attentive  consideration  is 
indicated;  "grans  biens  y  pourrez  apprendre,  chose  dont 
tout  cuer  rejoir." 

The  blessings  of  the  powers  of  Heaven  are  called  down 
upon  those  who  will  be  silent  and  lend  attention.  The 
following  examples  are  illustrative  of  this  kind  of  plea : 

12,         line  5.     (Vierge  Marie)   Veueil  tous  ceulx  de  mal 
garder, 

Qui  en  paix  vouldront  regarder. 
17,  163.     Benoist  soit-il  qui  se  tera 

Et  je  pry  Dieu  que  pardonner 

Vueille  a  celluy  qui  pais  faira. 
36,  25.     Prince,  garde  de  toute  oultrance, 

Ceulx  et  celles  qu'entendront  bien. 
52,  i.     Or,  faittes  pais,  vous  aultres,  tous, 

Que  pais,  joye,  lyesse  et  bon  jours 

Soit  donne  a  trestous  vous. 
73,  21.     Diex  ly  doint  bien  qui  se  tera 

Et  en  paix  jouer  nous  lera ! 

Veiled  and  open  threats  of  heavenly  displeasure  were 
proffered  those  who  should  cause  a  disturbance.  Examples 
where  there  was  but  the  suggestion  of  a  threat  are : 

58,  23.     Ceulx  qui  sont  de  la  partie  dieu, 

En  .toute  place  et  en  tout  lieu, 
Voulentiers  oyent  sa  parolle. 

74  (iB),       i.     Chrestiens,  qui  desirez  1'amour 
De  Jesus-Christ,  notez  nos  diets. 

More  open  menaces  are  found  in  the  following : 


General  Characteristics.  81 

17?  10.     Doulces  gens,  un  pou  escoutez 

Pesiblement  sans  noise  faire  ; 
Mains  de  paine  arez,  ne  doubtez, 
Que  se  vous  Tun,  1'autre  boutez 
Ou  f  aictes  ennuy  et  contraire ; 
Or,  vous  seez  et  acoutez 

33  (lA),  104.     Car  noise  peut  estre,  on  le  scait, 
Cause  de  mal,  et  vous  seroit 
En  la  fin,  le  cas  dangereux, 
Et  se,  daventure,  en  noz  jeux, 
Quelqun  sennuye  ou  travaille, 
Je  luy  conseille  quil  sen  aille 
Et  laisse  les  aultres  en  pais. 

The  name  of  God  is  frequently  used,  and  silence  is  urged 
for  the  sake  of  devotion ;  "Be  silent,  devout  people,  in 
reverence,  for  your  salvation,  devoutly,  on  behalf  of  him 
of  whom  we  speak,  that  God  may  be  pleased,  for  devotion's 
sake,  in  the  name  of  the  exalted  King  of  Glory,  of  the 
Father  and  Son  and  of  the  Holy  Spirit." 

In  most  cases  a  courteous,  if  not  humble  tone  was 
adopted  in  these  requests ;  "Be  silent,  we  pray  you,  please, 
I  beg  you,  I  humbly  beseech  you,  through  your  benevolence, 
from  your  benign  grace,  by  complacence,  if  you  please,  if 
it  suits  your  pleasure,  in  charity,"  etc.  Sometimes  we  find 
the  simple  statement  that  the  play  will  begin  when  the 
people  are  seated  and  silence  is  obtained.  Going  a  little 
further  down  the  scale,  we  find  terse,  concise  requests  with 
the  polite  terms  missing  or  rather  coldly  worded,  such  as : 

14,  210.     Escoutez,  faictes  silence 

25  (3),     100.     Or,  je  vous  prie,  tant  qu'est  a  moy, 

Que  imposez  ung  peu  silence. 
29  C1)'       7°-     Si  faictes  paix,  grans  et  petis, 

Et  d'oir,  soiez  ententis. 
55  (3^),       i.     Seigneurs  et  dames,  prenez  place 

Et  chascun  pence  a  son  affaire 

Sans  que  personne  se  desplace 


82  General  Characteristics. 

A  tone  still  more  brusque  is  found  in  six  others.  Exam- 
ples from  [17]  and  [33]  (iA),  were  given  above  under 
the  subject  of  threats.  In  addition,  we  find : 

55  (iB),      2.     Donnez  nous  paix,  sans  plus  actendre, 

Et  que  chascun  preigne  sa  place, 

Au  mieulx  quil  pourra  sans  mesprandre ; 

Puis,  mectez  payne  de  comprendre. 
58,  155.     Mais  bonne  paix  nous  vueillez  faire; 

Chascun  na  que  sa  langue  a  taire. 
74  (iA),    ii.     Ne  mener  nul  bruit, 

Ains,  prenez  deduit, 

En  paix  vous  tenez. 

Si  vous  murmurez, 

Soyez  asseurez 

Que  nous  en  irons. 
77,  i.     Je  vous  commande,  de  par  le  Roy, 

De  par  Pilate,  le  prevoust, 

Que  vous  ne  dictes  un  sceul  moust 

Et  si  nostre  f  este  moleste  ! 

The  range  of  terms  used  in  wording  the  request  itself  is 
very  large.  The  following  list  of  disconnected  expressions 
will  give  an  idea  as  to  the  common  phraseology :  "Escoutez, 
en  paix  regarder,  ne  vous  ennuye,  plaise  taire  chascun  que 
noyse  ou  desine,  ne  f aictes  ennuy  et  contraire,  faictes  silence, 
ouyr,  soit  paisible,  pesiblement  sans  noise  faire,  vous  seez, 
amoureuse  silence,  ouvrez  vos  yeulx,  silence  prestez,  1'en- 
tendez  quois  et  paisibles,  ouyr  deentente,  soyez  de  silence 
fornys,  imposez  silence,  rendus  a  ouyr,  ententis  d'oir,  soy 
taire,  ouvrez  lentendement  et  la  maniere  pour  ouyr,  prester 
audience,  veulliez  estre  curieux  d'ouyr,  en  paix  et  union, 
prester  1'oreille,  soit  modere,  vous  teniez  tout  coyement, 
d'oyr  ayez  pascience,  prenez  place,  ne  faciez  noyse  ne  cry, 
'venite  et  videte,'  mettes  en  memoyre,"  etc. 


General  Characteristics.  83 

8.      ANALYSIS   OF   MYSTERY. 

More  space  in  the  prologues  is  given  to  the  analysis  of 
the  mystery  than  to  any  other  feature.  An  extended  out- 
line of  what  the  audience  may  expect  in  the  ensuing 
"journee"  or  in  the  entire  mystery  is  given  in  advance,  no 
effort  being  made  to  conceal  the  "denouement,"  as  in  the 
modern  plays.  The  analysis  is  given  partly  to  supplement 
the  limited  knowledge  of  the  audience  as  to  the  subjects 
treated,  and  partly  to  insure  their  presence  until  the  end  of 
the  performance  by  appealing  to  their  curiosity. 

In  the  prologues,  other  than  those  of  the  first  "journee" 
a  brief  "resume"  is  made  of  the  preceding  "journee," 
together  with  the  outline  of  the  following  "journee." 

Notice  of  the  change  from  the  description  of  the  past 
"journee"  to  the  present,  is  sometimes  indicated  by  "S'en- 
suit  la  division  du  jeu  de  la  seconde  journee,  du  tiers  jour," 
etc.,  or  by  other  similar  statements;  sometimes  simply  by 
the  change  from  the  past  tense  to  the  future  tense  of  the 
verbs. 

The  analysis  in  the  mysteries  dealing  with  events  in  the 
life  of  Christ  differs  usually  in  form  from  that  of  the  saints' 
lives.  The  outline  is  more  general  in  character,  and  follows 
more  closely  biblical  sources,  at  times  being  the  biblical 
story  itself,  put  into  prologue  form.  The  analysis  in  the 
saints'  mysteries  is  more  in  the  form  of  a  biography,  more 
reference  being  made  to  wordly  matters,  such  as  noble  birth, 
historical  environments,  etc. 

When  the  mystery  does  not  treat  of  the  "Creation,"  a 
statement  of  biblical  history  is  frequently  given,  summa- 
rizing the  events  from  the  time  of  the  Creation  to  the  time 
represented  by  the  beginning  of  the  mystery. 

The  thread  of  the  narrative  in  the  analysis  is  often  broken 
by  moralizing  passages  or  by  a  Latin  text  with  its  explana- 
tion. Frequently  it  is  interrupted  to  allow  the  prologuist 
to  point  out  some  personage  on  the  stage;  in  some  cases, 


84  General  Characteristics. 

the  analysis  is  given  in  conjunction  with  the  description  of 
the  personages  and  stage  settings. 

While  the  style  is  declamatory  and  vivid  in  a  few  cases, 
in  general,  it  is  a  rather  monotonous  narrative,  the  facts 
linked  by  "and  then  you  will  see"  or  "afterwards  you 
will  hear."  The  common  expressions  are,  "Done  orres,  et 
puis  verres,  et  tantost  verres,  apres  verrez,  et  a  tant  verres, 
puis  Tame  de  Jesus  fera,"  etc.  The  general  character  of 
the  analysis  may  be  understood  from  the  following  repre- 
sentative passages,  two  from  mysteries  on  the  life  of  Christ, 
and  three  from  the  saints'  lives. 

13  (2),         i.     Hier,  feismes  demonstration 
De  la  sainte  incarnation 
De  dieu  en  la  vierge  benigne ; 
Au  jourduy,  declaration 
Nous  feron  de  la  nation, 
Sil  plait  a  la  bonte  divine. 

*9  (2)>       51-     Of>  vouldrons,  par  tres  bonne  amour, 
commancer  nostre  second  jour, 
et  monstrer,  en  temps  et  en  lieu, 
du  benoist  Baptiste  de  Dieu 
comment  ou  desert  il  prescha, 
et,  a  voix  haultaine,  adnonqa 
la  venue  du  doulx  aignel, 
.  le  vray  redempteur  d'Israel, 
d'ilec,  par  fais  et  par  escript, 
poursuyr  des  fais  Jhesu  Crist 
monstrant  sa  chere  passion 
jusqu'a  la  resurrection, 

48  (2),       25.     Vous  verrez  Lengres  assieger 
Et  sainct  Didier,  decapiter. 
Apres,  verrez  sa  mort  vanger 
Par  Marien,  fort  et  legier,   . 
Qui  fera  Croscus  molester. 
Vous  verrez  au  bon  sainct  porter 
Son  chef  apres  1'incision, 
Par  divine  operation. 


General  Characteristics.  85 

67,  228.     Le  bon  chivallier  Sebastient 

fut  fis  dung  conte  de  Narbone, 
lequel  avoit  tres  grant  somme 
de  richesse  et  segniorie, 
et  avoit  grant  chevallerie, 
et  pour  sa  force  et  prouesse 
avoit  este,  en  sa  jeunesse, 
senechal  de  lempereur 
de  Romme,  et  des  senateurs 
estoit  de  tous  ame  tres  bien. 

68,  101.     (S.  Vincent) 

Saint  Augustin  nous  dit,  pour  abreger, 

Qu'il  fut  vainqueur  en  parolles  et  paines ; 

Aussi  fut-il,  ce  sont  choses  certaines, 

Pareillement  en  tribulacion', 

Brusle,  paigne,  et  en  confession 

Toujours  vainquit,  sans  doubte,  vif  et  mort, 

Et  sainct  Ambroys  aussi  nous  fait  raport, 

Disant  qu'il  fut  tourmente,  durement, 

Tres  dessire,  flagelle  asprement, 

Brusle,  grisle,  mais  pour  le  nom  de  Dieu, 

II  demoura  non  vaincu  en  tout  lieu. 


9.      TO    INTRODUCE   THE   ACTORS. 

The  prologuist  addresses  very  few  remarks  directly  to  the 
actors.  These  are  found  at  the  end  of  the  prologue  and 
serve  mainly  to  fix  the  attention  of  the  audience  upon  the 
first  speaker.  We  have  the  following  examples  of  this 
direct  address : 

A.     To  a  definite  actor: 

19  (2),       65.     Jehan,  venez  vous  advancer, 

de  vostre  sermon  commancer. 
72,  115.     Quant  vous  plaira,  vous  feres  les  entraiges 

Sire  Severe,  grant  empereur  Romain. 


86  General  Characteristics. 

B.     To  several  actors: 

25  (3),     1 02.     Vous,  joueurs,  dictes  en  presence, 
Je  vous  en  pry,  a  peu  paroles, 
Les  dictz  escriptz  dedans  voz  rolles ; 
Et  iceulx  vueillez  tost  pronuncer, 
Et  commance  qui  doibt  commancer. 

29  (0>       72-     Angles,  menez  joyeuse  vie, 
Et  faites  telle  melodic 
Qu'il  appartient  a  vostre  office, 
Quand  le  temps  y  sera  propice. 
Et  vous,  virtus,  quant  il  vous  plaist, 
Commenciez,  car  c'est  vostre  fait. 

35,  224.     Avant2  seigneurs,  plus  n'  atendez, 

Chascun  de  vous  face  devoir. 

55  (2B),      7.     Deables,  remplis  doultrecuydance, 
Monstrez  vous  devant  et  derriere. 

Sometimes  the  simple  statement  was  made  that  the  mystery 
would  begin ; 

4,  127.     Ores  est  temps  de  commancier 

Pour  nostre  mistere  anoncier. 

15  (36),    58.     Qui  doit  commencer,  si  commence. 

25  (2),     121.     Car  vella  qui  va  commancer. 

76  (i),       75.     Mais  plaise  a  vous  les  joueurs  escouter, 
qui  commencer  vont  ^introduction. 

In  other  cases,  the  announcement  is  made  and  the  actor 
indicated ; 

9  (A),    196.     Le  surplus  vous  demonstrera 

Ce  messaigier,  que  veez  la 

Quil  est  abille  pour  ce  fere. 
13  (i),       22.     Done  Balaam,  le  prophete  gentil 

Commencera  le  premier,  et  est  cil 

Qui  eliud  est  dit  en  livre  job. 
31,  27.     Dan  Joseph,  cil  de  Arimachie, 

Venge  a  Pilate,  si  lui  die ; 


General  Characteristics.  87- 

76  (26),  133.     Tantost  verrez  herpin,  luissier, 
de  par  lempereur  denoncier 
a  son  conseil  et  a  ses  gens, 
affin  quilz  soient  tous  dilgens 
de  venir  tantost  devers  luy. 


IO.      THE   STAGE-SETTING. 

Reference  to  the  stage-setting  is  found  in  ten  of  the  pro- 
logues. In  three  of  these  it  is  a  mere  passing  mention ;  in 
the  other  seven,  a  rather  extended  description  is  given, 
varying  in  length  from  sixteen  to  seventy-two  lines.  As 
these  descriptions  have  an  important  bearing  on  the  question 
of  the  stage-setting  of  all  the  mysteries,  I  have  given  them 
verbatim  in  the  Appendix.1  A  summary  of  the  general 
facts  will  be  given  here,  a  more  detailed  study  being  possible 
by  reference  to  the  Appendix. 

An  introductory  sentence  is  usually  found  at  the  begin- 
ning of  the  description ; 

Montrer  vous  vueil  tous  les  estages 
Et  lordonnance  de  nostre  jeu, 
Selon  lestat  des  personnages, 
Lesquelz  ont  prins  chacun  son  lieu. 

One  peculiarity  of  this  introductory  sentence  is  that  the 
word  "monstrer,"  in  one  form  or  another,  is  usually  found 
in  it.  "Ici  se  meet  chascun  en  ordre  pour  faire  monstre,  Je 
vous  monstre  la  devise,  Les  personnages  veulx  demonstrer, 
Present  vous  vueil  monstrer  et  deviser  les  lieux,  Monstrer 
vous  vueil  les  personnages,"  etc.  The  words  "ordonnance" 
and  "devise"  are  also  used,  in  the  sense  of  grouping  and 
arrangement  of  actors. 

In  [65],  112,  there  is  no  introductory  sentence;  the 
prologuist  changes  abruptly  from  the  sermon  to  the  descrip- 
tion ;  "C'est  le  palais,  la  ou  est  Dieu." 

Appendix,  p.  171. 


88  General  Characteristics. 

The  imperative  form  is  used  only  in  [31],  thus  indicating 
that  this  introduction  is  addressed  to  the  stage  managers 
rather  than  the  people,  and  arguing  for  the  unlikelihood  of 
it  having  been  recited,  notwithstanding  the  rhyme. 

The  attention  of  the  spectators  was  turned  to  the  proper 
point  by  a  gesture  with  the  following  expressions:  "Vees 
la,  cy,  voicy,  cy  bas,  voilla  en  hault,  voiez  la,"  or  simply  by 
the  use  of  the  demonstrative  adjective  or  pronoun;  "cest 
eschafaut,  cest  hermite,  cestuy,"  etc.,  accompanied  by  the 
gesture. 

The  actors  taking  part  in  the  mysteries  can  best  be 
studied  from  the  lists  of  personages  given  by  M.  Petit  de 
Julleville  in  Les  Mysteres,  vol.  ii.  Those  mentioned  specifi- 
cally in  the  prologues  are  as  follows:  God,  the  angels,  the 
various  saints  of  the  Old  and  New  Testament,  Satan  with 
his  satellites  and  lesser  devils,  the  Virgin  with  her  com- 
panions, the  three  Maries,  the  various  kings  and  emperors 
with  their  suites  and  servants,  the  various  religious  poten- 
tates with  their  subordinates,  New  Testament  rulers  con- 
nected with  the  Passion,  Jews,  the  blind,  the  lame,  the  sick, 
the  poor,  executioners,  jailors,  porters,  sailors,  heralds, 
messengers,  burgers,  a  hermit,  madman,  silversmith,  widow, 
wives  and  children.  Some  of  these  characters  are  indicated 
by  name,  but  many  are  not  mentioned,  their  role  being 
easily  understood.  The  prologuist,  in  speaking  of  these 
omissions,  says : 

48,  128.     Je  n'en  diray  ne  plus  ne  mains ; 

Le  demeurant  se  monstre  assez. 

68,  174.     Et  s'il  y  a  quelque  autre  personnaige, 

De  les  nommer  m'en  passe  en  verite, 
Car  ilz  ne  sont  pas  de  necessite. 

The  author  of   [13]   refers  to  the  use  of  the    "ecriteaux" 
designating  the  various  localities  of  the  mystery : 

13  (i),       4.     Present  des  lieux,  vous  les  povez  congnoistre 
Par  lescritel  que  dessus  voyez  estre. 


General  Characteristics.  89 

The  places  mentioned,  with  the  exception  of  the  technical 
stage  terms  (see  below)  are:  "monument,  jaiole,  enfer, 
ciel,  Galilee,  Jemaiis,  paradis,  ceste  chambre,  chartre,  gibet, 
Lengres,  chappelle,  maison  du  prince,  ce  boys  la,  Tours, 
hault  palays,  demaine  de  la  grant  contree  despaigne,  Capi- 
tolle,  Valence  la  cite,  temple  des  ydolles,  vesseau."  The 
technical  terms  are  "estals,  estages,  mansions,  lieux, 
eschauffaulx,  habitacle,  estre."1  The  words  "repaire"  and 
"chappelle"  are  used  also,  but  not  in  a  technical  sense.  No 
use  of  the  words  "etage,  echafaud"  or  other  terms  is  found 
in  the  prologues,  which  would  support  the  hypothesis, 
formerly  held,  that  the  stage  consisted  of  several  stories. 

The  style  of  this  part  of  the  prologue  is  abrupt  and  often 
disconnected,  as  would  naturally  be  expected  from  the 
nature  of  the  contents.  In  several  passages  nothing  seems 
attempted  but  the  simple  enumeration  of  the  personages 
and  places.  In  general,  however,  this  monotonous  effect  is 
relieved  by  short  descriptive  phrases  which  treat  of  the 
character  or  role  of  the  person  named  or  of  the  use  of  the 
place  mentioned. 


II. 

BY   WHOM   GIVEN. 

No  exact  results  as  to  the  prologuist  can  be  obtained  from 
the  simple  study  of  the  prologues.  This  should  be  sup- 
plemented by  a  study  of  the  epilogue,  stage  directions  in 
the  body  of  the  mystery,  and  outside  documents  relating  to 
the  presentation  of  the  piece. 

The  following  information  is  from  a  consideration  of  the 
prologues  themselves.  Seventy-two  prologues  have  head- 
ings ;  twenty-one  are  unnamed.  Of  the  seventy-one,  forty- 

1For  description  of  these  terms,  see  Les  Mysteres,  vol.  ii, 
chapter  xi. 

7 


90  General  Characteristics. 

five  are  headed  "prologue"  (one  case  "prologues")  ;  seven 
are  headed  "messagier";  six  are  by  the  "Acteur"  (  = 
author)  ;  five  by  the  "predicateur"  (prescheur,  preco, 
preecieres)  ;  two  by  the  "meneur  du  jeu"  (=  stage  man- 
ager) ;  two  by  the  "prologueur"  and  four  others  with  the 
headings  "nuncius,  Fleur-de-lis  (herald),  le  sermon,"  and 
"Sensuit  la  seccion  et  la  division  du  jeu." 

A  line  of  Latin  frequently  precedes  the  first  sentence.1 
This  is  especially  true  for  the  unnamed  prologues.  In 
several  cases  this  absence  of  heading  is  due  to  text  mutila- 
tion, but  the  probable  prologuist  can  be  known  from  the 
headings  of  the  other  prologues  of  the  same  mystery,  or 
from  a  comparison  with  other  similar  prologues  which  are 
provided  with  headings. 

The  first  person,  which  is  used  continually  by  almost  all 
of  the  prologuists  in  speaking  of  the  acting,  would  indicate 
that  the  prologuist  was  a  member  of  the  company. 

The  main  question  arising  in  the  consideration  of  this 
subject  is  whether  in  case  of  a  sermon  as  prologue,  the 
prologuist  is  a  priest  or  a  layman  dressed  for  the  occasion 
in  a  priest's  garb.  From  the  study  and  comparison  of  the 
prologues,  their  subject-matter  and  wording,  I  would  con- 
clude that,  whenever  a  sermon  was  a  part  of  the  prologue, 
it  was  given  by  a  priest,  and  a  real  priest.  This  priest  might 
be  the  author,  manager  or  a  member  of  the  company,  but 
he  must  be  a  churchman.  The  contrary  may  be  true  in 
regard  to  the  "Miracles  de  Notre  Dame,"  but  these  miracle- 
plays  were  given  under  different  circumstances  from  the 
majority  of  the  mysteries.  The  prologue  was  written  by 
the  author,  but  from  the  wording  it  is  clear  that  no  one  but 
a  priest  would  dare,  or  would  be  fitted  to  give  it,  if  we  take 
into  consideration  the  religious  conditions  at  the  time  the 
mysteries  were  played.  The  hortatory,  chiding  tone  of  these 
sermons  would  not  have  been  accepted  by  the  people  from 
others  than  the  accredited  ministers,  and  the  Church  like- 
wise would  not  have  encouraged  this  exact  imitation  of 

1  See  "Erudition,"  p.  69. 


General  Characteristics.  91 

sermons  in  the  mouths  of  laymen.  Again,  the  fact  that 
often  but  a  part  of  the  Latin  scriptural  text  is  written,  fol- 
lowed by  the  word  "etc",  would  indicate  as  prologuist 
some  one  capable  of  completing  this  text.  In  [36]  we  find 
the  directions  "Hoc  Predicator  incipit"  but  without  any 
sermon  following.  This  implies  that  either  the  nature  of 
the  sermon  has  beeen  left  to  the  preacher  or  that  the  copyist 
omitted  the  regular  sermon. 

The  nomenclature  used  in  the  headings  cannot  be  con- 
sidered of  great  importance  in  the  solution  of  this  question, 
as  the  terms  are  deceptive.  Thus,  while  we  find,  as  would 
be  expected  from  the  "Meneur  de  jeu"  and  the  "Nuncius," 
prologues  which  do  not  emphasize  the  religious  element,  in 
15  (36)  we  have  the  "messagier"  presenting  as  prologue 
a  thoroughly  technical  sermon,  with  long,  Latin  scriptural 
quotations,  a  prayer,  etc.  On  the  other  hand,  in  [36]  the 
"Preco"  recites  a  ballad,  which  contains  little  religious  mat- 
ter, and  which  is  composed  almost  entirely  of  a  plea  for 
silence. 

Among  the  irregular  forms  of  prologues,  we  find  intro- 
ductions by  the  following  persons:  [i]  (lA),  Preface  by 
publisher;  [i]  (6),  Ballad  by  four  "entrepreneurs";  [13], 
"Defile  des  prophetes,"  by  actors;  [19]  (i),  Entire  "Cre- 
ation" by  actors;  [27]  (2),  Speech  by  "la  fille  de  la 
Chananee";  [39],  "Chanson"  by  "folle  femme";  [72] 
(lA),  Latin  preface  by  the  royal  judge,  Louis  Perrier. 
Other  introductions  given  by  the  actors  are:  diableries, 
"Proces  de  Paradis,"  fools'  speeches,  dialogues  among  the 
saints,  apostles,  executioners,  shepherds,  the  Magi,  "Fol  et 
Folle,"  and  various  allegorical  personages.1 

1  See   "Irregular  Prologues,"   p.  96. 


pa  General  Characteristics. 

III. 
TO   WHOM   ADDRESSED. 

Here  again,  as  in  the  case  of  "by  whom  given,"  the  sub- 
ject, to  be  treated  fully,  demands  study  outside  of  the 
prologue  itself. 

The  general  character  of  the  audience  in  most  cases  was, 
as  we  know,  the  following:  The  larger  part  consisted  of 
the  common  people  of  the  town  and  the  peasants  from  the 
vicinity;  the  clergy  was  well  represented,  and  it  is  proba- 
ble that  the  nobility  from  the  neighborhood  occupied  boxes. 

We  find  salutations  in  the  prologues,  suitable  for  each 
of  these  classes  of  society,  but  it  is  rather  difficult  to  dis- 
tinguish clearly  among  them.  The  salutations  addressed 
to  royalty  and  to  the  clergy  are  easy  to  distinguish,  but  one 
cannot  be  sure  as  to  the  other  classes.  To  royalty  we  have ; 
[10],  79  "Ung  C  qui  Charle  signifie";  [68],  45.  Vous, 
tres  noble  roy;  [68],  49  Prince  prudent  du  Maine";  [68], 
13.  Vous,  seignieurs  prestres,  [13]  (i),  17,  Tous  seig- 
neurs deglise  ou  autrement."  The  following  may  be  con- 
sidered as  addressed  to  the  nobility  alone:  33  (lA),  116 
"A  toute  noble  seigneurie";  33  (iB),  92  "La  noble  seig-. 
neurie";  [40],  2  Seigneurs  et  dames  de  hault  pris,  (Et 
vous  bonne  gens  de  pays)."  The  use  of  all  three  of  these, 
however,  may  be  considered  doubtful,  as  it  is  very  possible 
they  were  directed  to  the  common  people.  The  last  example 
cited  may  spring  from  the  desire  of  the  author  to  make  a 
distinction  between  the  burgers  and  the  peasants. 

The  salutations  which  would  seem  by  their  form  to  be 
addressed  to  nobility  had  clearly  lost  this  use  and  were  used 
simply  as  common  forms  of  address.  Their  extreme  fre- 
quency proves  this,  as  well  as  the  brusqueness  of  the  sen- 
tence which  sometimes  follows  them.  Thus  we  find 

55  (iB)  i.     Seigneurs,  de  moult  grant  efficace, 

Donnez  nous  paix,  sans  plus  actendre, 

Et  que  chascun  preigne  sa  place 

Au  mieulx  quil  pourra,  sans  mesprandre. 


General  Characteristics.  93 

Likewise,  "noble  et  saincte  compaignie"  did  not  imply 
in  the  least  high  rank  or  piety  but  was  given  with  the  same 
signification  as  "Seigneurs."  Among  the  other  high-sound- 
ing salutations,  we  have ;  "Noble  assistance,  Mes  seigneurs 
et  mes  dames,  Beau  seigneur,  Notable  et  devost  populaire, 
Noble  auditoire,  Noble  et  magnifique  compaignie,  Nobles 
seigneurs,  Ceste  belle  compagnie,  Seigneurs  de  moult  grant 
efficace,  Tresnoble  et  devost  auditoire,"  etc. 

The  loss  of  the  original  meaning  of  the  words  in  the  salu- 
tation is  also  seen  in  [17],  10,  where  the  gentle  people 
(Doulces  gens)  are  requested  not  to  jostle  each  other  (Tun, 
1'autre  boutez). 

"Seigneurs"  is  the  most  common  form  of  address.  Vari- 
ous examples  of  the  regular  ministerial  form  of  salutation 
are  found;  "Chieres  gens,  Mes  cheres,  Doulces  gens, 
Devotes  gens,  Mes  bonnes  gens  devotes,  Mes  amis,  Ceste 
congregacion,  Chrestiens." 

Other  more  general  expressions  are; 

13  (i),       17.     Tous,  seigneurs  deglise  ou  autrement, 
Et  au  commun,  bref,  a  toute  personne. 
14,  203.     Mes  cheres,  des  moindres  jusques  aux  meres. 

17,  159.     Et  .hault  et  bas,  et  sus  et  jus. 

1 8,  6.     Tous  et  toutes. 

19(1  A),  206.     Seigneurs  et  dames,  cojointement  hommes 

et  fames 

25  (2),       43.     Notable  peuple,  grans  et  menus. 
2  5  (3)j       43-     Chacun  personnage, 

Soit  vieulx  ou  de  jeune  aage. 
29  ( J  )  >       7°-     Grans  et  petis. 
36,  29.     Trestous,  communement. 

52,  i.     Vous  aultres,  tous. 

55  (2B),       i.     Tresnoble  et  devost  auditoire, 

Peuple  de  moult  grant  excellence. 
77,  29.     Venesi,  grans  et  menus, 

Ensemble,  vieux  et  chaneux. 


94  General  Characteristics. 

Among  the  irregular  forms  of  prologues,1  we  find  intro- 
ductions, addressed  to  the  following  persons:  [i]  (A,  B), 
"Amys  lecteurs."  Also  reference  to  King  Francis  I  and  to 
his  sister;  [i]  (6),  Ballad  to  King  Francis  I;  [3],  An 
epigram  from  author  to  Doctor  Antonium  Lecoq;  [23], 
Dixain  from  author  to  his  disciples;  [25],  "Oraison," 
dedication  to  Virgin;  [34],  "Epistre"  to  Francis  I;  [72] 
(lA),  Latin  preface,  ending  with  prayer  to  Holy  Trinity; 
[76],  Two  ballads  to  King  Charles  VIII. 


IV. 
DOUBLE   PROLOGUES. 

We  find  six  mysteries  which  have  more  than  one  prologue 
for  the  same  "journee";  9  (A,  B),  15  (3A,  B),  19  (lA, 
B,  C,  D,  E),  55  (3A,  B),  74  (lA,  B),  76  (2A,  B).  ' 

p  (A,  B).  Both  prologues  are  sermons  with  the  same 
general  characteristics.  Beginning  of  A  is  gone,  heading 
of  B  is  "Predicator."  Evidently  there  is  still  another  pro- 
logue between  these  two,  judging  from  these  lines  at  the 
end  of  A; 

Le  surplus  vous  demonstrera 
Ce  messaigier  que  veez  la, 
Quil  est  abille  pour  ce  fere. 

This  prologue  is  omitted,  and  in  its  place  is  a  ten  line  epi- 
logue belonging  at  the  end  of  the  first  "journee." 

J5  (3-A,  B}.  A,  incomplete,  last  sixteen  lines  only 
remain.  A  =  analysis,  B  —  sermon,  and  plea  for  silence. 
A  has  no  heading,  B  is  headed  "Le  Messagier." 

ip  (iA,  B,  C,  D,  E}.  A  is  regular  prologue  form, 
sermon,  analysis,  plea  for  silence,  etc.,  B,  C,  D,  E,  have 
short  analysis  and  plea  for  silence. 

1  See   "Irregular  Prologues,"  p.  96. 


General  Characteristics.  95 

In  [33]'  I  have  made  two  divisions  lA  and  iB,  but  B, 
in  this  case,  is  simply  the  additions  made  from  a  compari- 
son of  the  Chantilly  manuscript  with  the  so-called  Jean 
Michel  "Passion" ;  both  belong  to  the  same  prologue.1 

55  (3 A,  B).  Both  are  poetical,  and  consist  of  a  plea  for 
silence.  A  has  no  heading,  B  has  "Le  Messagier." 
Between  them  is  a  page  of  dialogue,  evidently  misplaced, 
as  it  is  followed  by  a  dialogue  with  the  heading  "Baltazard, 
Roy  de  Saba,"  and  below  is  the  word,  "Mistere."  After 
nine  lines  B  without  warning  becomes  a  dialogue  speech, 
probably  that  of  Baltazard.  The  B.  N.  ms.  is  evidently  a 
late  copy  and  is  quite  faulty. 

76  (2 A,  B).  A  is  headed  "Prologus,  Theuma"  and  has 
a  Latin  text.  It  is  purely  a  sermon.  B  is  headed  "Le 
Meneur  du  jeu."  It  is  composed  of  an  analysis  and  plea 
for  silence. 

In  [17]  there  are  not  two  separate  prologues,  but  after 
line  seventy-four  of  the  prologue  of  one  hundred  and  sixty- 
nine  lines,  we  find  the  statement  "Qui  vourra  finer  aus 
Apostres,  voise  de  cy  a  cele  clause  qui  ensuit.  'La  Sove- 
raine'  (Ces  deux  mots  forment  le  commencement  d'un  vers 
qu'on  trouvera  plus  loin)." 

While  no  general  rule  can  be  deduced  from  these  exam- 
ples, we  find  that  in  three  cases,  9,  15  and  76,  one  prologue 
is  for  the  sermon  while  the  other  is  for  the  analysis,  plea 
for  silence,  etc. 

In  19  (lA,  B,  C,  D,  E),  the  entire  "Creation"  of  1,740 
lines  is  used  as  the  grand  prologue  to  the  "Passion."  A  is 
the  regular  introductory  prologue  to  this  "Creation";  B, 
C,  D,  E,  play  the  role  of  short  prologues  to  the  different 
divisions  of  the  "Creation." 

In  55  (3A,  B),  where  A  is  for  the  morning,  B,  for  the 
afternoon  ("la  presdinee"),  the  same  arrangement  was  prob- 
ably used  for  "journees"  (i)  and  (2),  but  only  the  after- 
noon prologues  remain. 

1  See  Macon,  Note  sur  le  Mystere  de  la  Resurrection,  attribue  a 
Jean  Michel. 


g6  General  Characteristics. 

The  double  prologue  in  [74]  is  probably  due  to  misplace- 
ment by  copyist,  or  as  will  be  shown  later  in  the  case  of  a 
Provengal  mystery,  is  an  example  of  two  representations  of 
the  same  mystery,  with  a  different  prologue  in  each  case. 

The  regular  prologue  is  often  accompanied  by  other 
forms  of  introduction,  which  are  not  a  part  of  the  mystery 
proper,  such  as:  prefaces,  "diableries,"  "Proces  du  Para- 
dis,"  speech  of  "Fols,"  etc.  These  forms  are  treated  below 
under  the  subject  of  "Irregular  forms  of  prologues." 


V. 
IRREGULAR  FORMS  OF  PROLOGUE. 

In  the  work  so  far,  only  the  strictly  regular  forms  of  the 
prologue  have  been  considered.  Many  other  forms  of 
introduction  to  the  mystery  are  found  which  may  be  con- 
sidered as  prologues  or  as  serving  some  of  the  purposes 
of  the  prologues.  A  descriptive  list  of  these  forms  will  be 
given  below,  followed  by  a  discussion  of  their  uses.  The 
question  of  the  possible  use  of  some  of  the  first  speeches  of 
the  mystery  as  a  prologue  will  be  considered  later. 

[/]  (iA}.  Prose  preface  by  publisher.  Five  hundred 
words.  Religious  and  moral  reasons  for  publishing  the 
text.  Mentions  its  performance  at  Bourges,  its  author's 
name,  Symon  de  Greban,  and  the  patent  of  the  King.  No 
heading.  Follows  "Lettres  patentes"  of  the  King.  Fol- 
lowed by  index  of  first  volume.  Is  not  a  part  of  the  mystery 
proper.  Not  accompanied  by  a  regular  prologue. 

[/]  (iB).  Dialogued  prologue  by  the  apostles  and  the 
martir  Saint  Etienne.  One  hundred  and  ninety  lines. 
Lines  1-40;  publisher  gives  a  sort  of  apology,  naming 
Symon  and  Arnoul  Greban  as  authors,  and  introducing 
apostles.  Each  apostle  makes  a  ten  line  speech,  giving  a 
brief  history  of  his  own  life.  Nineteen,  ten  line,  ten  sylla- 


General  Characteristics.  97 

ble  stanzas.  Rhyme-order  (aababbccbc).  Heading 
"Prologue,  sur  les  actes  des  Apostres,  par  singulieres  proso- 
peies,  attribuees  a  chascun  deulx.  Et  au  prothmartir  sainct 
Estienne."  Follows  index.  Followed  by  first  speech  of 
mystery.  No  regular  prologue  to  this  "journee." 

[i]  (6).  Ballad  by  four  "entrepreneurs"  of  mystery, 
naming  themselves,  praising  God,  and  inciting  the  King 
to  good  works.  Three,  eleven  line,  ten  syllable  stanzas 
(ababccddede),  with  a  five  line  envoi  (a  a  b  a  b). 
Heading  "Le  Second  Volume.  Balade."  Follows  "Livre 
V."  Followed  by  "Livre  VI."  No  regular  prologue  to 
the  "journee." 

[2].  Latin  paragraph  by  author.  Stage-setting  and 
directions  to  actors.  Prose.  One  hundred  and  sixty-eight 
words.  Heading,  "Ordo  Representacionis  Ade."  Fol- 
lowed by  mystery.  No  regular  prologue. 

[j].  Latin  epigram.  Author  dedicates  mystery  to  Dr. 
Antonium  Lecoq,  in  order  to  obtain  his  influence.  Heading, 
"Ludovici  choquet,  ad  magistrum  Antonium  le  coq,  doc- 
torem  medicum  per  doctum.  Epigramma."  Follows  end- 
ing of  the  "Mystere  des  Actes  des  Apotres."  Followed  by 
mystery,  "LJ Apocalypse."  No  regular  prologue. 

[6].  ."Proces  de  Paradis"  and  "Diablerie."1  Lines 
1-159;  regular  "Proces"  in  Heaven,  where  man's  fate  is 
discussed ;  it  ends  by  the  descent  of  "Verite"  to  earth  seek- 
ing the  expiatory  sacrifice.  Lines  160-239;  "Diablerie," 
where  Satan  summons  his  demons,  and  after  a  scene  full  of 
the  usual  mutual  objurgation  and  cursing,  sends  them  forth 
to  overthrow  humanity.  Lines  240-331 ;  resumption  of 
"Proces."  "Verite"  announces  failure  to  find  anyone  on 
earth  worthy  of  being  the  sacrifice,  and  Christ  alone  is  so 
deemed.  God  announces  speedy  deliverance  of  humanity 
and  Saint  Michel  and  Gabriel  rejoice.  "Rimes  melees." 
Heading,  "Cy  commence  le  mistere,"  etc.  "Sainct  Michel." 
Followed  by  mystery.  No  regular  prologue. 

[13].     "Defile  des  prophetes."     One  thousand,  four  hun- 

1  See  Les  Mysteres,  vol.  ii,  pp.  359  and  425. 


98  General  Characteristics. 

dred  lines.  Balaam,  David,  Isaiah,  Jeremiah,  Ezekiel, 
Daniel,  the  Sibyl  each  prophesy  about  Christ.  Heading, 
"Balaam  prophete."  Follows  regular  prologue.  Fol- 
lowed by  mystery.  Regular  prologue  also  to  this  "journee." 

[15],  "Diablerie."  Heading  "Sathan."  Follows  regu- 
lar prologue.  Followed  by  mystery. 

[jp]  (i).  The  "Creation."  One  thousand,  seven  hun- 
dred, forty  lines.  A  complete  mystery  itself,  with  five 
minor  prologues  contained  within  it. 

[20]  (/).  "Proces  de  Misericorde  et  de  Justice." 
Heading,  "Misericorde  commence."  Follows  regular  pro- 
logue. Followed  by  mystery. 

(2).  "Diablerie."  Heading  "Lucifer."  Follows  regu- 
lar prologue.  Followed  by  mystery. 

(3).  "Proces  de  Paradis."  Heading  "Verite  com- 
mence." Follows  regular  prologue.  Followed  by  mys- 
tery. 

[<??].  "Dixain,"  by  author  to  his  disciples,  dedicating  his 
"chants  Natalz"  to  them.  One  ten  line,  ten  syllable  stanza 
(ababbccdcd).  Heading,  "B.  Aneau  a  ses  disciples." 
Followed  by  a  "Chant  pastoural,"  and  then  by  mystery. 
No  regular  prologue. 

[<?5].  "Oraison."  Prose.  Two  hundred  fifty-seven 
words.  Dedication  of  mystery  to  Virgin.  Given  by  author. 
Heading  "Oraison,  Que  fait  1'Acteur."  Follows  list  of 
personnages.  Followed  by  regular  prologue. 

[27]  (2).  (a).  Speech  (not  written)  by  "fille  de  la 
Chananee."  In  directions  is  found  the  following;  "Nean- 
moins,  la  fille  de  la  Chananee  pourra  commencer  la  journee 
en  parlant  comme  une  demoniacle,  jusques  a  ce  que  bonne 
silence  fust  faicte."  Followed  by  dialogue  of  apostles.  No 
regular  prologue. 

[27]  (2) .  (&) .  Dialogue  among  the  apostles,  recapitula- 
ting events  of  first  "journee."  One  hundred,  twenty-two 
lines.  Lines  1-71 ;  six  twelve  line,  eight  syllable  stanzas 
(aabaabbbcbbc).  Lines  72-95 ;  "rimes  melees." 
Lines  96-122;  "rimes  plates."  Heading,  "Cy  commence, 


General  Characteristics.  99 

etc.  Et  commencent  les  apostres  faisans  une  recapitulacion 
des  fais  de  jesus,  traictez  en  la  premiere  journee."  Follows 
speech  by  the  "fille  de  la  Chananee."  Followed  by  mys- 
tery. No  regular  prologue. 

[29]  (i).  "Proces  du  Paradis."  One  thousand,  fifty-six 
lines.  "Rimes  melees."  Heading  "Misericorde."  Fol- 
lows regular  prologue.  Followed  by  mystery. 

[30] .  Dialogue  among  "La  Terre,"  "L'un"  and  "L'autre," 
beginning  with  a  long  poetical  speech  by  "La  Terre,"  rejoic- 
ing in  its  springtime  productivity.  This  is  followed  by  a 
dialogue  on  the  destiny  of  man.  One  hundred,  ninety-four 
lines.  (First  twenty- four  lines,  not  original.)1  Lines  i- 
104;  speech  of  "La  Terre."  "Rimes  melees."  Heading, 
"La  Terre  commence."  Followed  by  mystery.  No  regular 
prologue. 

[33]  (7)-  Dialogue  among  the  saints.  Lamentation  and 
despair  after  death  of  Christ.  Followed  by  diablerie,  and 
"Proces  de  Paradis."  Follows  regular  prologue. 

[34] .  Epistle  by  author  to  Francis  I,  dedicating  the  mys- 
tery to  the  King.  Eighty,  eight  syllable  lines.  "Rimes 
plates."  Heading,  "Nuncupatoire  epistre  au  grand  Fran- 
Qoys,  Roy  tres  chrestien,  monarque  des  Frangoys.  Par 
Costentin,  humble  et  petit  valet  du  diet  grand  Roy,  si  povoit 
et  valait."  Followed  by  mystery.  No  regular  prologue. 

[36] .  "Diablerie."  Four  hundred,  twenty  lines.  Head- 
ing "Lucifer,  prince  d'enfer."  Follows  regular  prologue. 
Followed  by  mystery. 

[38]    (5)-     "Diablerie."     One  hundred,  forty-two  lines. 

[39]'  "Chanson"  by  "folle  femme."  Subject,  free  love. 
Six,  ten  syllable  lines  (aabaab).  Heading,  "Icy  la 
folle  femme  se  present  et  commence  en  chantant  la  chan- 
son suyvante  ou  autre,  avec  gestes  damour,  dissoluz  et 
lubriques."  Follows  regular  prologue.  Followed  by  mystery. 

[42}.  Dialogue  between  "fol  et  folle."  Two  and  one- 
half  columns.  Followed  by  mystery.  No  regular  prologue. 

1  See  Les  Mysteres,  vol.  ii,  p.  425. 


ioo  General  Characteristics. 

[47}.  "Diablerie."  Three  hundred,  seventy  lines.  No 
regular  prologue. 

[48]  (i).  Speech  by  "Fol."  Usual  nonsense.  Twenty- 
two  eight  syllable  lines.  "Rimes  melees."  First  line 
rhymes  with  last  line  of  regular  prologue.  Heading  "Le 
Fol."  Follows  regular  prologue.  Followed  by  mystery. 

(2)  Speech  by  "Fol."  Nonsense.  Fourteen,  eight  sylla- 
ble lines.  "Rimes  melees."  First  line  rhymes  with  last 
line  of  regular  prologue.  Heading  "Le  Fol."  Follows 
regular  prologue.  Followed  by  mystery. 

[55]  i  A.  (Morning  Session).  "Diablerie."  One  hun- 
dred, fourteen  lines.  Lines  1-42 ;  ballad  by  Lucifer,  alone 
on  stage.  Three,  twelve  line,  ten  syllable  stanzas  (a  a  b  a  a 
bbbcbbc),  same  rhymes  in  each  stanza.  Envoi,  one, 
six  line,  ten  syllable  stanza  (a  a  b  a  a  b),  with  rhymes  same 
as  those  of  last  six  lines  of  other  stanzas.  Refrain,  "Prince 
infernal,  deable  sempiternel."  Heading  "Ballade  de  la  puis- 
sance inf ernalle."  Lines  43-54 ;  one,  twelve  line,  ten  sylla- 
ble stanza  (aabaabbbcbbc).  Lucifer  rages  at  the 
other  demons.  Lines  55-96;  "Ballade  de  Champ  Royal." 
Dialogue  among  "Sathan,  Burgibus,  Berith,  Luciffer." 
The  last  word  of  each  line  ends  in  the  letter  "c."  Three, 
twelve  line,  ten  syllable  stanzas,  similar  rhymes  (a  a  b  a  a 
bbbcbbc).  Envoi,  six  line,  ten  syllable  stanza  (a  a  b 
a  a  b),  with  rhymes  same  as  the  last  six  lines  of  other 
stanzas.  Refrain  "Que  te  fault  il,  paillart,  puant  aspic?" 
Heading,  "S'ensuit  une  ballade  de  champ  royal,  finissant 
tout  par  C."  Lines  97-108;  Lucifer  speaks;  one,  twelve 
line,  ten  syllable  stanza  (aabaabbbcbbc).  Lines 
108-114;  Satan  speaks;  one,  six  line,  ten  syllable  stanza 
(aabaab).  Followed  by  mystery.  No  regular  pro- 
logue. 

(iB)  (Afternoon  session).  "Diablerie."  -Two  hundred, 
forty  lines.  Follows  regular  prologue. 

(2A)  (Morning  session).  Dialogue  among  executioners. 
Preceded  by  a  heading,  "Messagier,"  but  regular  prologue 
which  should  follow  this  heading  is  omitted. 


General  Characteristics.  101 

(2B)  (Afternoon  session).  "Diablerie."  Follows  regu- 
lar prologue. 

(36)  (Afternoon  session).  "Diablerie."  Follows  regu- 
lar prologue. 

[66}.  Speech  by  "Fol."  Twenty  lines  of  nonsense.  Two 
eight  line,  eight  syllable  stanzas  (ababbcbc)  and  one, 
four  line,  eight  syllable  stanza  (a  b  a  b).  Follows  regular 
prologue  and  rhymes  with  it.  Heading,  "Le  Fol  com- 
mence." 

[68].  "Diablerie."  Five  hundred  lines.  Heading 
"Lucifer  parle  aux  deables,  Lesquelx  sont  hors  d'enffer." 
Follows  regular  prologue.  Followed  by  mystery. 

[72]  (iA).  Latin  preface,  by  royal  judge,  Louis  Perrier 
(not  author).  Three  hundred,  seventeen  words.  Reasons 
for  giving  mystery,  and  prayer  to  Holy  Trinity.  No  head- 
ing. Followed  by  "Entraige."  Regular  prologue. 

(iB)  "L'entraige."  Poetical  dialogue,  partly  or  wholly 
sung.  The  allegorical  figures,  Asia,  Africa,  Europe  boast 
of  their  own  grandeur  and  each  one  invites  "Dame 
Silence  to  come  to  her  "tenemant"  to  listen  to  the  mystery 
which  is  to  follow.  Dame  Silence  accepts  Europe's  invita- 
tion, because  Europe  is  a  Christian  land.  She  ends  with  an 
eight  line  plea  for  silence.  One  hundred  sixteen  lines. 
Lines  1-14;  two  triolets  by  Dame  Silence.  "Rimes 
melees."  Lines  27-116;  dialogue  "Rimes  melees." 
Rhyme-order  (a  b  a  b)  Heading,  "L'entraige  de  la  premiere 
journee  des  Trois  Damps."  Follows  Latin  preface.  Fol- 
lowed by  mystery. 

(2)  "L'entraige."     Dialogue  among  the    "Tirands,"    on 
guard  in  their  towers.      Light,  bantering  conversation  on 
eating,  drinking,  gaming,  and  everyday  affairs.     One  hun- 
dred, forty-seven  lines,  some  of  the  responses  composed  only 
of  one  of  two  words.     "Rimes  melees."     Heading,    "L'en- 
traige de  la  secunde  journee."     Followed  by  mystery.     No 
regular  prologue. 

(3)  Dialogue  among  "Tirands."     One  hundred,  twenty- 
two    lines.      Very   poetical,    with    references   to    Orpheus, 


102  General  Characteristics. 

Diana,  Argus,  Juno,  and  other  mythological  characters. 
The  "tirans"  finally  awaken  "Soulas  humain"  who  sings, 
exalting  love.  This  dialogue  is  followed  by  an  account  of 
the  deliberations  of  the  Governor  and  Council  of  Vienna, 
and  afterwards  by  a  long  account  of  the  torments  inflicted 
by  the  "tirans"  on  the  martirs.  The  heading,  "La  Tierce 
Journee,"  comes  after  all  these  proceedings,  which  occupy 
five  hundred,  thirty  lines.  "Rimes  melees."  Heading  of 
dialogue,  "Tercia  Dies."  Followed  by  mystery.  No  regu- 
lar prologue. 

[73] .  Dialogue  among  shepherds,  one  hundred,  nine  lines. 
"Rimes  plates."  Common  bantering  conversation.  Gabriel 
appears  and  announces  the  birth  of  Christ.  Shepherds  visit 
the  stable.  Heading,  "Les  berchiez  soient  ou  millieu  du 
champ  et  dient,  Tun  a  1'autre."  "Gobelin,  premier  bergier." 
Follows  regular  prologue.  Followed  by  mystery. 

[74].  Ballad  by  three  Magi.  Each  one  recites  a  stanza, 
exalting  the  times,  and  ending  with  the  refrain,  "Nous 
aurons  quelque  nouvellete."  Text  faulty.  Prologue  (iB) 
separates  stanzas  two  and  three.  Stanza  I  is  eight  line,  ten 
syllable  (a  a  b  a  b  b  a  c).  Stanza  II,  seven  line,  ten  syllable 
(a  b  a  b  b  a  c).  Stanza  III,  seven  line,  ten  syllable  (aba 
b  b  b  c).  No  envoi.  Heading,  "Caspar,  Roy'de  Tarre." 
Follows  regular  prologue.  Followed  by  mystery. 

[75].  Dialogue  by  shepherds.  One  hundred,  two  lines. 
Conversation  about  sheep,  dogs,  and  lunch.  Lines  1-12; 
"rimes  melees."  Lines  13-102 ;  "rimes  plates."  Heading, 
"Cy  comense  la  moralite  des  trois  Roys,  et  commence  les 
pasteurs."  Followed  by  mystery.  No  regular  prologue. 

[76]  (iA}.  Ballad,  dedicating  the  mystery  to  King 
Charles  VIII  and  giving  the  sources  of  the  piece.  Each 
stanza  ends  with  the  two  line  refrain, 

On  aprenne  celle  description 
prophetique,  du  sage  hieremie. 

Fifty-three  lines.  Four,  twelve  line,  ten  syllable  stanzas 
(ababbccddede),  with  a  five  line,  ten  syllable  envoi 


General  Characteristics.  103 

(a  a  b  a  b).     Followed  by  another  ballad,  (ib).     Regular 
prologue. 

(ib).  Ballad,  praising  Charles  VIII,  for  his  persecution 
of  the  Jews,  ending  with  the  refrain ;  "Que  le  bon  roy  tres- 
crestien  de  france."  Forty-one  lines.  Three,  twelve  line, 
ten  syllable  stanzas  (ababbccddede),  with  a  five 
line,  ten  syllable  envoi  (a  a  b  a  b).  After  envoi  comes  an 
eight  line,  ten  syllable  prayer  (ababbcbc).  Follows 
ballad  of  (lA).  Followed  by  regular  prologue. 


Summary. 

From  the  above  list,  we  may  form  the  following  classi- 
fication. 

I.  Iregular  forms  of  prologues,  including  the  following : 
i  (iB),  19  (i),  27  (2a),  27  (2b),  72  (iB). 

II.  Introductory  forms  used  as  prologues,  divided  into 
the  following  two  classes :   A,  in  conjunction  with  regular 
prologues  ;  B,  unaccompanied  by  regular  prologues.     Under 
A,  we  have:   13,  15,  20  (i),  20  (2),  20  (3),  25,  29,  33  (i), 
36,  39,  48  (i),  48  (2),  55  (iB),  55  (2A),  55  (28),  55 
(36),  66,  68,  73,  74,  76  (la),  76  (ib).     Under  B,  we  find: 
i  (6),  6,  30,  34,  38,  42,  47,  55  (lA),  72  (2),  72  (3),  75. 

III.  Introductory  forms,  not  used  as  prologues,  such  as : 
i  (i A),  2,  3,23,72  (i A). 

Class  I  contain  those  forms  which,  though  irregular,  are 
clearly  prologues.  The  reasons  for  this  classification  are 
as  follows,  i  (iB),  dialogue  of  saints,  is  called  prologue 
by  the  author  and  the  first  speech  is  given  by  him.  19  (i), 
the  "Creation,"  is  named  prologue  by  the  author.  27  (2a), 
"Fille  de  la  Chananee" ;  the  stage  directions  tell  her  to 
speak  until  "bonne  silence  fust  faicte."  27  (2b),  dialogue 
of  apostles,  is  an  analysis  of  preceding  day.  72  (iB), 
"L'Entraige" ;  in  the  first  speech  of  dialogue,  and  also  in 
the  last,  Dame  Silence  makes  a  direct  appeal  to  the  audience 
for  silence,  using  the  term  "Segnieurs  et  dames." 

In  class  II,  we  have  forms,  serving  some  of  the  purposes 
of  the  prologue,  usually  that  of  obtaining  the  attention  of 


io4  General  Characteristics. 

the  audience.  The  forms  of  division  B  would  seem  to 
occupy  the  role  of  prologue  more  than  those  of  division  A, 
on  account  of  the  absence  of  a  regular  prologue.  In  some 
of  these  cases,  however,  the  copyist  has  probably  omitted  the 
regular  prologue.  Class  II,  as  a  whole,  may  be  considered 
as  separate  from  the  regular  subject-matter  of  the  mystery. 

The  following  introductions  of  class  II  deserve  special 
mention : 

"Proces  de  Paradis."  These  "Proces"  are  found  in 
most  of  the  mysteries,  either  at  the  beginning  of  the  "jour- 
nees"  or  in  the  body  of  the  piece.  A  good  description  of 
the  stage-setting  for  this  heavenly  court  is  found  in  [29] 
(i)  ;  "Cy  est  la  Trinite  en  Paradis,  cest  assavoir,  Dieu,  le 
pere,  assis  en  son  throne,  et  entour  lui,  angles  et  archangles, 
grant  multitude  qui  font  les  aulcuns  melodic,  les  aultres 
sont  a  genoulx  par  devant  Dieu,  avec  Misericorde,  qui  tient 
ung  ramisiel  d'olivier  en  sa  main.  Et  justice  est  empres 
ly,  toute  droite,  qui  tient  une  espee  en  sa  main.  Et  avec 
Misericorde  sont,  a  genoulx,  Verite,  Sapience  et  Charite. 
Et  commence  Misericorde,  et  dist  einsi."  We  have  four 
cases  of  the  use  of  these  forms  for  prologue  purposes. 

"Piablerie."  The  most  popular  means  of  obtaining  early 
attendance  at  the  mysteries,  and  of  holding  the  attention 
of  the  audience,  was  the  "diablerie."  There  are  twelve 
examples  of  these.  The  one  most  nearly  approaching  the 
regular  prologue  form  is  55  (iA),  where  Lucifer,  alone  on 
the  stage,  recites  his  ballad  of  "la  puissance  infernalle." 
This  ballad  is  followed  by  the  sortie  of  the  other  demons 
from  their  "secretz,"  who  join  in  the  "ballade  de  Champ 
Royal."  The  stage  directions  for  this  "diablerie"  are  inter- 
esting, as  they  give  an  idea  of  the  method  of  procedure  in 
this  part  of  the  performance. 

The  heading  is  as  follows :  "Icy  se  commance  a  monstrer 
Luciffer,  faisant  cris  et  hurlemens  orribles,  et  de  tous  les 
aultres  deables,  n'en  doibt  en  voir  nully,  car  ilz  seront  soubz 
terre,  pour  sortir  es  secretz,  ad  ce  ordonnez,  quant  il  en  sera 
temps."  After  the  envoi  by  Lucifer  we  find :  "II  crie  et  se 


General  Characteristics.  105 

tempeste,  et  ne  disent  encore  mot,  les  aultres  deables." 
After  twelve  lines  of  conjuration,  the  other  devils  appear; 
"Icy  sortent  les  deables  de  leurs  secretz,  Tun  cy,  1'aultre  la, 
avecques  feu  et  fouldre,  orrible,  crians  et  braillans,  comme 
il  appartient."  At  the  end  of  the  "diablerie"  are  the  fol- 
lowing directions :  "Pause  de  tourmens,  de  cris  et  hurlemens 
terribles,  en  enffer.  Puis  jouent  tronpetes  et  clerons." 

The  "Epistre"  to  the  King,  [34],  and  the  two  ballads  of 
[76],  were  probably  recited  at  the  beginning  of  the  piece, 
but  no  statement  to  this  effect  is  found. 

The  role  of  the  "fol,"  "pour  vous  resjouir  et  pour  voz 
esperitz  refreschir"  is  found,  like  the  "diablerie",  scattered 
through  the  mystery.  We  find  this  form  as  introduction 
four  times.  In  [39],  the  "Chanson  de  la  folle  femme"  is 
used  as  introduction,  although  the  same  personage  is  found 
later  in  the  mystery. 

The  various  light  dialogues  of  the  "Tirands,"  shepherds, 
Magi,  etc.,  while  given  by  actors  of  the  mystery  itself,  are 
clearly  used  as  a  sort  of  introduction.  We  find  seven 
examples  of  this  kind.  The  dialogue  of  the  saints  in  33 
(i),  serves  as  an  outline  of  the  biblical  history  which  pre- 
cedes the  period  embraced  by  the  mystery,  and  thus  serves 
as  an  introduction  to  it. 

Class  III  consists  of  prefaces,  short  poems,  etc.,  which 
are  not  to  be  recited. 


FIRST  SPEECH  OF  MYSTERY  AS  A  POSSIBLE  PROLOGUE. 

A  rather  difficult  question  to  decide  is  to  what  extent  the 
first  speech  of  the  mystery  proper  may  be  regarded  as  serv- 
ing the  purposes  of  a  prologue  when  no  regular  prologue 
is  given.  We  have  one  clear  case  of  this  usage  in  [78] 
"Mystere  de  Susanne,"  where  the  author  himself  says, 
"Joachim  commence  en  forme  de  Prologue."  Then  follows 
the  first  speech  of  the  mystery,  a  thirty-five  line  harangue 
by  Joachim,  boasting  of  his  rank  and  power;  a  speech 
answered  at  once  by  Susanne.  This  speech  of  Joachim  is 


io6  General  Characteristics. 

in  ballad  form  with  refrain  "Qui  ne  sert  Dieu,  ne  fera  ja 
beau  faict."  It  consists  of  three,  ten  line,  ten  syllable 
stanzas  (aabaabbcbc),  with  a  five  line,  ten  syllable 
envoi  (a  a  b  a  b). 

Other  good  examples  of  this  use  of  the  first  speech, 
although  not  thus  named,  are : 

[/]  Livre  IX.  A  fifty-six  line,  ten  syllable  monologue 
by  the  magician,  Symon  Magus,  complaining  of  the  apostles, 
Peter  and  Paul ;  this  ends  with  an  incantation,  in  which  he 
summons  all  the  demons  to  his  aid.  Answered  by  Lucifer. 
"Rimes  melees,"  beginning  with  an  irregular  double  triolet. 
Not  accompanied  by  a  regular  prologue. 

[10]  (/).  Monologue  by  Priam,  King  of  Troy,  rejoicing 
in  the  rebuilding  of  his  city,  lamenting  the  rape  of  his  sister 
by  the  Greeks,  and  proffering  threats  of  vengeance.  Eighty, 
six  syllable  lines,  "rimes  melees."  After  line  eighty,  comes 
the  stage  direction;  "Lors  Priam  adresse  sa  parolle  au 
poursuyvant,  nomme  Machabrun  et  lui  dit."  This  shows 
that  the  first  part  of  the  speech  was  addressed  to  no  particu- 
lar person.  Accompanied  by  regular  prologue. 

[10]  (3).  Speech  by  Achilles,  praising  the  Gods  for 
death  of  Hector,  and  boasting  as  to  the  fall  of  Troy. 
Eighty-one  lines,  "rimes  melees."  Lines  1-72  consist  of 
six,  twelve  line,  eight  syllable  stanzas  (aabaabbbcbbc). 
Lines  73-81,  personal  address  to  Basaac.  Thus  the  first 
seventy-two  lines  were  addressed  to  no  one  in  particular. 
No  regular  prologue. . 

[50].  First  speech  of  "La  Terre"  in  dialogue  with 
"L'un  et  L'autre."  One  hundred,  four  lines.  Very  poeti- 
cal, "La  Terre"  exalting  her  own  fertility,  and  describing 
the  glories  of  spring.  "Rimes  melees."  Stanzas  irregu- 
lar from  five  to  ten  lines  in  length.  Syllabification  vary- 
ing from  five  syllables  to  eight  syllables.  A  general  speech 
addressed  to  no  one  in  particular,  although  answered  by 
"L'un."  No  regular  prologue. 

[42].  Speech  by  Diocletian,  boasting  of  his  power  as 
Emperor.  Fifty-nine  lines.  Lines  1-29;  ballad  with  re- 


General  Characteristics.  107 

frain,  "Comme  puissant  et  illustre  empereur."  Three, 
eight  line,  ten  syllable  stanzas  (abaabbcc)  with  five 
line,  ten  syllable  envoi  (a  b  b  c  c).  Lines  30-59;  "rimes 
melees."  General  speech,  answered  by  "Le  premier  sena- 
teur."  No  regular  prologue. 

[4^].  Heading  "S.  Pierre  die  a  S.  Estienne."  Seven- 
teen lines,  beginning  with  regular  prologue  commence- 
ment ;  "Doulces  gens,  un  pou  de  silence,"  but  the  remainder 
of  the  speech  is  to  the  other  disciples,  in  regard  to  their 
election.  "Rimes  plates."  After  line  seventeen,  comes  the 
heading  "Cy  parle  a  S.  Estienne,"  thus  indicating  more 
direct  address.  No  regular  prologue. 

[60].  (Nefvyesme  Livre).  Speech  by  "Le  Marchant," 
describing  the  hardships  of  the  merchant's  life  and  praising 
Saint  Louis.  Thirty-two  lines.  Four,  eight  line,  ten  sylla- 
ble stanzas  (abaabbcc).  General  speech.  Answered 
by  "La  Femme."  No  regular  prologue. 

[78}  (i-A).  Speech  of  God,  during  the  creation. 
Eighty-two,  ten  syllable  lines;  "rimes  melees."  Heading 
"Nota  que  celuy  qui  joue  le  personnage  de  Dieu  doit  estre, 
a  ce  commancement,  tout  seul  en  Paradis."  General  speech. 
Answered  by  Lucifer.  No  regular  prologue. 

In  all  of  these  examples  we  have  general  speeches  which, 
although  followed  by  an  answering  speech,  are  not  of  a 
conversational  character.  They  are  clearly  used  as  an  intro- 
duction to  the  "journee"  as  well  as  a  part  of  the  dialogue. 


io8  General  Characteristics. 


VI. 

PROVENCAL  PROLOGUES. 

The  Provencal  mysteries  are  of  interest  because  of  their 
rarity,  and  for  their  value  in  showing  the  late  development 
of  the  language.  Little  originality  is  shown  in  them. 
Those  which  we  possess  are  the  work  of  writers  without 
much  learning,  and  are  modelled  evidently  after  French 
types,  although  the  forms  of  expression  are  different. 

We  find  in  these  prologues  less  sermon  than  in  the  French 
pieces,  little  analysis,  no  description  of  stage  setting,  more 
prayers  and  invocations,  and  the  same  frequency  of  apolo- 
gies and  pleas  for  silence. 

The  statements  made  here  are  based  on  the  prologues  of 
the  few  mysteries  found  up  to  this  date.  Without  doubt, 
many  other  plays  were  given  in  ProvenQal,  some  of  which 
will  be  discovered  later  and  will  bring  out  new  facts. 

The  sermons  are  different  from  the  French  in  that  they 
are  short,  and  have  no  Latin  texts  at  the  beginning  or  scat- 
tered through  them.  Another  noticeable  fact  is  the  absence 
of  prayers  to  the  Virgin,  the  many  Ave  Marias  of  the 
French  mysteries  being  absent.  The  invocations  of  bless- 
ings and  prayers  for  help  are  all  addressed  to  Christ  or 
to  God;  "May  God  (Christ)  guard  the  company  from  ill, 
from  material  dangers,  from  sinning ;  may  he  bestow  peace, 
prosperity  and  understanding  upon  the  people,  and  finally 
may  he  bring  all  people  to  salvation."  Two  examples  of  the 
prayer  are; 

83,  line  i.     Jhesu  Christ,  que  de  la  Verge  eys  nas, 
Done  bon  jort  e  bon  solas, 
E  garde  la  compagnio 
De  tot  mal  e  de  vilanio, 
E  de  sa  gracio  arosar ; 
E  nos  done  cognoysenso 
De  tot  pecha  et  de  toto  offense. 


General  Characteristics.  109 

85  (lA),  29.     Diou,  per  sa  hinfin[i]o  bonta, 
Noz  mantegno  em  prosperita, 
Et  garde  lo  frut  de  la  terro, 
Et  noz  vuelho  gardar  de  guerro 
De  famine  et  pestillensio, 

85  (2),     15.     Diou  nous  don  veyre  et  escoutar.1 

The  help  of  God  is  invoked  in  giving  the  piece,  "Si  play 
a  Dio."  We  find  also  one  reference  to  the  Virgin  and  one 
appeal  to  a  saint ; 

80  (A),      6.     Ha  entrepreys  et  prepousa, 

Al  num  de  Dieu  prumieroment, 
Et  de  sa  mayre  tres  excellent. 

86  (iA),  37.     Or,  prean  Jhesus  devotoment, 

Et  sanct  Pons  ouci  debonayre, 
Que  nos  don  joar  seguroment, 
Et  nos  garde,  tuch,  de  mal  fayre.2 

Quotations  of  all  kinds,  secular  and  biblical,  are  lacking, 
with  the  exception  of  86  alone,  where  the  author  uses  two 
proverbs ; 

86  ( i A),  31.     La  non  eys  notari,  tant  sage, 

Que  non  falho  en  menar  la  plimo. 
(iA),  33.     Chasque  pays  a  sa  coustumo 
Et  son  parlar  parelhoment. 

The  sources  are  mentioned  in  a  general  way  in  two  pas- 
sages ; 

80  (A),    ii.     Como  escripcho  laven  troba 

En  la  sio  legendo,  appela 

Lo  ministeri  et  la  passion. 
86  (iA),  18.     Eysint  quant  1'escrich  ho  recito. 

1  For  the  other  examples,  see  Appendix,  p.  182. 
1  For  other  examples,  see  Appendix,  p.  185. 


no  General  Characteristics. 

In  the  irregular  form  81  (C)  we  find  also,  line  5, 

Sont  peraulas  de  sant  Mathio, 
Scritas  en  1'evangele  syo, 
Au  chapitre  desenouvieme. 

The  author's  reasons  for  writing  the  mystery  are  moral ; 
"to  show  you  the  way  and  the  road  to  salvation,  that  your 
heart  may  be  content,  to  give  you  consolation,  to  present 
to  you  a  model  to  be  followed."  The  piece  is  to  be  played 
"ambe  devotion,  li  personage  de  devocion  encita." 

The  intention  to  simply  amuse  is  shown  in  81  (B),  lines 
37-74,  where  there  is  a  burlesque  dialogue  between  the 
"Primus  Nuncius"  and  the  "Secundus  Nuncius."  This 
farce  is  introduced  almost  in  the  middle  of  the  regular  pro- 
logue and  consists  of  the  coarsest  kind  of  wit  and  stage- 
play.  The  author  appreciates  the  fact  that  some  explana- 
tion is  due  and  makes  the  following  apology: 

8 1  (B),     76.     Si  vous  play,  pardona-nous, 

Nous  aven  fach  sest  esbatiment 
Per  tal  que  s'achampes  la  gent. 

This  entire  dialogue  is  given  in  the  Appendix.1 

There  is  no  attempt  at  a  display  of  erudition.  The 
only  sources  mentioned  are  the  two  above.  The  absence 
of  Latin  scriptural  texts  is  quite  noticeable,  as  Latin  is  used 
in  the  Provencal  more  than  in  the  French  mysteries,  for 
headings  and  stage  directions.  The  Latin  headings  found 
in  the  Provencal  prologues  are  as  follows: 

80  (B).     "In  nomine  Sancte  Trinitatis,  Patris,  et  Filii  et 
Spirtus    Sancti.      Amen.      Hie.    incipit    secunda    dominica 
ystorie  Sancti  Andree,  sub  anno  et  die  M°  V°  XIP  et  die 
XXIX0  mensis  januarii." 

8 1  (A),  [i].     "Hec  est  historia  sancti  Anthonii,  copiata 
anno    Domini    millesimo    quingentesimo    tertio,    die    nona 
februarii  f[eliciter].     [2],     "Hec  est  Historia  Sancti  An- 

1  See  Appendix,  p.  185. 


General  Characteristics.  in 

thonii.  Cujns  principium  est  tale :  Et  primo  cantant  Angeli, 
ascendendo  Paradisum,  hoc  carmen  quod  sequitur,  ver 
etiam  in  processione." 

(iB).     "Incipit  Primus  Nuncius." 

83.  "Sequitur    quedam    moralitas    Sancti    Eustacii, 

Et  primo  Scutifer" 

84  (iA).     "Ludus  Sancti  Jacobi" 

85  (iA).     "Istoria  Petri  et  Pauli" 
(iB).     "Incipit  Istoria  Petri  et  Pauli." 

(2).        "Hie  incipit  Secunda  dies  Passionis  Apostolorum 
Petri  et  Pauli." 

The  names  of  the  persons  speaking  in  the  dialogue  are  also 
given  in  Latin  as  "Avunculus,  Pater,  Placidus  princeps 
militum/'  etc.  The  mystery,  86,  is  an  exception  as  all  the 
"rubriques"  are  in  Provencal. 

The  apologetic  tone  is  present  in  these  prologues,  but  not 
so  humble  as  in  the  French.  We  find  the  regulation  expres- 
sions; "umblament  (umbloment),  Si  vos  plas  de  bon  amor, 
benignoment,  de  cor  fin,  per  compassion,  per  honor,  plasso 
a  vostro  discretion/'  etc. 

In  three  of  the  mysteries  are  passages  in  a  laudatory 
strain ; 

81  (B),    ii.     Y  eso  per  bello  historic  patent. 
84  (A),    32.     Grant  eyssemplo  y  porres  pendre. 

86  (iB),    9.     Vos  veyre  en  grant  triomphe  et  glorio 

Juar  tost  sa  nativita. 

The  regular  apology  form  seen  in  the  French  is  used  here, 
namely :  "If  there  is  anything  lacking  in  the  language  or 
acting,  may  it  be  overlooked  for  the  sake  of  the  subject 
under  consideration,  and  because  'Nostro  poyssansso  eys 
ben  pechito.' "  The  author  of  86  supports  his  apology  by 
the  two  proverbs  quoted  above.1 

The  apology  found  in  81  (iB),  lines  19-30,  is  interesting 
from  the  list  of  persons,  to  whose  "ordenanso"  the  mystery 
is  submitted.  It  is  as  follows : 

1  For  list  of  apologies,  see  Appendix,  p.  189. 


ii2  General  Characteristics. 

81  (iB),  19.     Car  nous  nos  en  someten  a  la  ordenanso 
Dal  noble  ecelent  Rey  de  Franso, 
Y  a  nostre  segnor  lo  Dalphim. 
Plaso  a  Diou,  per  sa  marci, 
Que  li  done  longe  vio, 
Et  li  mantegno  sa  segnorio 
D'autro  part,  a  ses  uficiers, 
A  gentilshomes  e  scuyers, 
A  licensias  e  a  dotors, 
A  predicours  et  frayres  menors, 
Et  a  tota  creature  vivent, 
Que  auvirent  nostre  parlament. 

The  general  remarks  given  under  the  subject  of  "plea  for 
silence,"  in  the  study  of  the  Old  French  prologues,  apply 
here.  A  full  list  of  the  various  forms  of  requests  is  given 
in  the  Appendix.1 

The  analysis  of  the  mystery  does  not  occupy  much  space 
in  the  prologues.  In  one  we  find  seventy-two  lines  given 
to  this  object,  but  the  others  have  only  from  two  to  twenty- 
nine  lines.  The  brevity  with  which  this  subject  is  treated 
may  be  seen  from  80  (A)  and  80  (B), 

80  (B),  25-26.     (S.  Andre)  En  crous  el  eys  volgu  murir, 
Et  belcop  de  tormens  suffrir. 

80  (A),  20—24.     Sant  Andriou,  valent  baron, 
Per  mantenir  la  fe  christiano 
En  extirpant  la  ley  pagano, 
Lo  rey  Egeas,  plen  de  malicio, 
La  fach  murir,  per  sa  nequisio. 

The  analysis  was  given  without  any  effort  at  style  and,  with 
one  exception,  (81  (B),  80.  "Entende  la  mya  entencion"), 
without  any  warning  of  change  of  subject.  The  various 
episodes  are  connected  by  the  following  expressions:  "E, 

1  See  Appendix,  p.  187. 


General  Characteristics.  113 

et  tantost,  sensa  falhir,  et  aqui,  et  peus  tantost,  et  tantost  de 
continent  como  vos  veyres,  aco,  et  apres,  puys,  et  nota." 

We  have  four  passages,  which  serve  as  introduction  for 
the  actors; 

84  (A),    72.     Que  vos  dira  mon  conphanium 
167.     Et  los  angils  faren  cillate 

Et  qui  dieu  comensar,  comense. 
86  (iA),  44.     Acomense  comm'  a  commenssar. 
(iB),  28.     Eyssint  poyren  principiar. 

In  addition  to  the  French  term  "Messagier,"  the  prolog- 
uists  were  called  "Nuncius  (Primus,  Secundus),  Trompeta, 
and  Scutifer."  The  headings  for  the  irregular  forms  of 
prologues  are :  81  (A)  "Cantant,  Angeli"  8  (C)  "Predica- 
tor,"  84  (B)  "Lo  Fol,"  86  (2  B)  "Sathan"  (diablerie). 

An  interesting  feature  is  found  in  84  (A)  where  the 
"Trompeta"  and  "Nuncius,"  by  public  cry,  announce  the 
mystery  in  the  streets  of  the  city,  and  invite  the  people  to 
attend.  The  "Trompeta"  first  sounds  his  horn  "al  bel  son 
de  ma  trompeta,"  and  then  in  a  short  speech  summons  the 
people  to  listen  to  the  announcement  of  his  companion. 
The  "Nuncius"  then  announces  the  mystery,  with  the  date 
of  representation,  "Dimenge,  jugaren  lestoria,"  and  urges 
the  people  to  come,  supporting  his  summons  with  reasons 
appealing  to  their  spirit  of  devotion  and  to  their  curiosity. 
The  general  tone  is  light,  as  might  be  expected,  and  of  a 
character  to  attract  the  attention  of  the  crowd.  Thus  in 
the  middle  of  his  first  speech  the  "trompeta"  says  "E  pues 
apres  bevray,"  and  he  evidently  suits  the  action  to  the  word, 
as  the  stage  directions  say  "Bibet."  The  regular  town 
crier's  summons  is  also  used; 

Lines  35-36.     Jeu  vos  faut  comandament 

Que  tot  home,  danant  e  damont, 

Line  45.  (Nuncius,  per  villam), 

Avant,  avant,  bonas  gens! 


ii4  General  Characteristics. 

The  "Nuncius"  ends  his  speech  with  a  comic  effect,  suited 
to  raise  a  laugh; 

Lines  63-66.     E  qui  non  vendra  vere  laffesto, 
Li  sera  facha  una  enquesta, 
E  qui  non  vendra  de  matin, 
Pagara  un  pichier  de  vin. 

In  line  67,  we  have  another  summons  for  silence  from  the 
"Trompeta"  and  then  follows  the  regular  prologue. 

None  of  the  forms  of  salutation  in  the  prologues  can  be 
considered  as  referring  particularly  to  the  clergy  or  to 
royalty.  The  expressions,  which  will  be  given  below,  were 
addressed  to  the  people,  as  well  as  to  any  members  of  the 
higher  classes  who  might  be  present  at  the  performance. 
The  most  common  of  these  expressions  are  as  follows: 
"(a)  la  noble  companio,  (b)  tot  lo  poble  eycy  existent,  (c) 
amis,  (d)  nobla  gent,  (e)  Me  segnors,  (f)  segnors,  (g) 
Beous  amis,  (h)  bonas  gens,  (i)  senhors  e  donas  de  vallor, 
(j)  trestous,  (k)  voz,  et  bas  et  faut,  (1)  tant  bello  com- 
pagnio,  (m)  venerablos  presencios,  (n)  tos,  petiz  et  grans, 
d'aut  et  de  bas,  (o)  nobles  seignors. 

We  have  three  cases  of  double  prologues;  80  (A-B),  85 
( i  A-B),  86  ( i  A-B) .  In  80,  the  two  prologues  have  almost 
the  same  contents,  and  certain  passages  are  the  same  in 
language.  (A)  belongs  to  a  later  representation  of  the 
mystery.  In  85,  there  is  very  little  difference  between  A 
and  B,  both  having  the  ordinary  form.  No  prologuist  is 
given  for  (A),  while  (B)  is  headed  by  "Lo  Messagier." 
In  86,  prologue  (iA)  was  added  later.1  It  is  of  the  same 
composition  as  (iB).  iA  is  headed  "Prologue,"  iB  has 
the  heading,  "Lo  Mesagier." 

Four  examples  of  what  may  be  called  irregular  forms  of 
prologues  are  found.  They  all  accompany  regular  pro- 
logues. They  are  the  following: 

#/  (iA}.  Chorus  of  angels,  praising  the  Virgin. 
Twenty-four  lines ;  "rimes  melee."  Heading,  "Et  primo 

1  See  note  at  end  of  prologue  in  Guillaume  edition. 


General  Characteristics.  115 

cantant  Angeli,  ascendendo  Paradisum,  hoc  carmen  sequitur, 
ver  etiam  in  processione."  Followed  by  regular  prologue. 

8 1  (iC~).  Sermon.  One  hundred  and  nineteen  lines; 
"rimes  melees."  Heading,  "Predicator."  Follows  regular 
prologue.  Followed  by  mystery.  This  sermon  begins 
"Noble  adsistance,  ar  escota,"  but  is  a  regular  part  of  the 
mystery,  and  is  mentioned  later  in  the  dialogue.  This  is  an 
example  of  what  we  have  already  seen  in  the  French  mys- 
teries, where  the  prologue  salutation  is  used  in  the  dialogue 
to  attract  attention. 

84  (B).  Speech  by  "Lo  Fol."  Thirteen  lines;  "rimes 
melees."  First  line  rhymes  with  last  line  of  regular  pro- 
logue. Heading  "Lo  Fol."  Follows  regular  prologue. 
Followed  by  mystery. 

86  (28}.  "Diablerie."  Sathan  summons  the  demons 
for  consultation  as  to  the  means  of  destroying  Saint  Pons. 
Seventy  lines;  "rimes  melees."  Follows  regular  prologue. 
Followed  by  mystery. 


n6  General  Characteristics. 


VII. 


BRETON   MYSTERIES. 

No  complete  study  of  the  Breton  prologue  has  been  made. 
This  paragraph  is  added  simply  to  round  out,  to  a  certain 
degree,  the  general  subject.  The  following  observations 
may  be  made.  In  general,  the  Breton  prologue  is  modelled 
after  the  Old  French  prologue,  but  the  difference  is  much 
greater  than  that  between  the  Provencal  and  Old  French. 
There  seems  to  be  a  more  deeply  religious  tone  in  the 
Breton  prologue,  and  the  structural  arrangement  is  differ- 
ent. The  narration  is  broken  up  into  short  stanzas,  always 
with  "rimes  melees."  Quotations,  proverbs  and  compari- 
sons are  lacking,  as  well  as  stage  descriptions  and  apologies. 
The  analysis  of  the  ensuing  scene  of  the  play  seems  to  be 
the  main  object  of  the  prologue. 

A  different  prologuist  is  found  in  the  person  of  "The 
Witness"  (An  Test),  who  has  been  present  during  the 
actual  occurrence  of  the  events  described  in  the  mystery, 
and  who  describes  these  scenes  in  advance.  This  role  of 
"An  Test"  is  longer  than  that  of  the  Old  French  pro- 
loguist. He  gives  the  analysis  not  only  at  the  beginning  of 
the  mystery,  but  throughout  the  piece  at  the  commence- 
ment of  each  scene.  His  speeches  follow  closely  the  trend 
of  the  mystery  and,  if  united,  would  constitute  a  complete 
story  within  themselves.' 

The  irregular  forms,  the  diableries,  the  speeches  of  "Lo 
Fol,"  etc.,  are  also  found,  but  without  the  prominence  given 
them  in  the  Old  French  plays. 

In  general,  one  may  say  that  the  Breton  prologues,  while 
more  religious  in  tone  and  more  extended  as  to  length,  lack 
the  variety  of  form  and  invention  found  in  the  Old  French 
and  Provengal  prologues. 


APPENDIX  TO  PART  I 

REPRESENTATIVE    PROLOGUES.1 

OLD   FRENCH    PROLOGUES. 

/.  p  (iB),  lines  1-15.  Twelve  syllable  lines  divided 
into  six  syllable  lines  by  copyist.  "Rimes  plates." 

Predicator. 
I.  Magnus  dominus  et  magna  virtus 

Ejus  et  sapiencie  ejus  non  est  numerus. 

A  haulte  sapience 
De  Dieu  quil  tout  gouverne, 
Quil  tous  secres  enserche, 
Tous  jugemens  discerne, 
5.     Nous  soit  vray  conseil 
Par  son  divin  mistere. 
Prions  devotement 
A  la  vierge  tres  clere, 
Pucelle  glorieuse, 
Mere  de  Dieu  joieuse, 
Quelle  la  nous  inpetre 
Devers  la  court  divine; 
10.     Et  pour  ce  qua  ce  fere 
Elle  soit  plus  encline, 
Par  devant  son  ymaige 
Nous  agenoillerons, 
Defin  cueur  et  humble 
Nous  la  saluerons. 

1  These  prologues  are  given  to  illustrate  the  various  kinds  of 
versification  rather  than  for  their  subject-matter. 

The  texts  copied  have  been  left  unchanged,  except  as  to  punc- 
tuation. The  lines  of  each  prologue  have  been  numbered  beginning 
with  one,  regardless  of  the  numbering  in  the  edition  copied. 


n8  Appendix  I. 

Le  salut  ly  dirons 
Qui  du  trosne  celestre 
Ly  fut  tremys  sa  val 
Quant  Dieu  voult  son  filz  estre, 
15.     Par  Gabriel  archange 
Qu'il  point  ne  varut ; 
Novel  salut  ly  dit 
Par  ave  maria. 


II.  13  (i),  Entire.   Ten  syll.  "Rimes  melees."   Cf.  13  (2). 

Le  prologue, 
i.     Pour  relever  humaine  creature 

Des  ors  enfers  et  de  la  chartre  obscure 
Ou  le  avoit  sceu  le  mauvaise  ange  attraire, 
Le  filz  de  dieu  par  sa  charite  pure 
5.     Et  amitie,  nostre  propre  nature 
(I)  A  voulu  prendre,  et  vray  homme  soy  faire, 

Et  dune  vierge  il  a  fait  son  sacraire ; 
Puis  en  est  ne  en  trespovre  repaire, 
Ainsi  comme  nous  le  demonstrerons 

10.     Sil  plait  a  dieu,  et  pour  ce  mieulx  parfaire 
Nous  vous  prions  tous  quil  vous  plaise  taire 
Jusques  a  ce  que  acheve  nous  aurons ; 
Affin  dennuy  fuir  nous  nous  tairons. 
Present  des  liuex,  vous  les  povez  congnoistre 

15.     Par  lescritel  que  dessus  voyez  estre. 
Nous  requerons  universelement 
A  tous  seigneurs,  deglise  ou  autrement, 
(II)  Et  au  commun,  bref  a  toute  personne, 

Se  commettons  faulte  que  on  nous  pardonne 

20.     Et  chacun  dieu  deprie  dhumble  cueur 
Que  par  sa  grace  il  nous  soit  adjuteur. 
Done  Balaam  le  prophete  gentil 
Commencera  le  premier  et  est  cil 

24.     Qui  eliud  est  dit  en  livre  job. 


Appendix  I.  119 

III.  13  (2),  Entire.    Eight  syll.  "Rimes  melees."    Cf.  13(1) 

Le  prologue. 

i.     Hier  feismes  demonstration 
De  la  sainte  incarnation 
De  dieu  en  la  vierge  benigne ; 
Au  jourduy  declaration 
5.     Nous  ferons  de  la  nation, 
Sil  plait  a  la  bonte  divine, 
Si  prions  de  pensee  incline 
A  chascun  que  noyse  ou  desine 
Et  paix  ayon  a  suffisance 
10.     Affin  que  au  jourduy  on  affine 
Et  que  du  tout  en  tout  termine 
12.     La  proposee  demonstrance. 

IV.  1 5  (3 A}.    Entire.     Eight  syll.  "Rimes  plates." 

i.     Ce  que  pourrez  fort  bien  comprendre 
quand  vous  verrez  mener  et  rendre 
par  les  dyables  les  sept  peches, 
nommes  malheureux  et  mortelz, 
5.     devant  Jesus  au  jugement; 

auquel  lieu  vous  verrez  comment 
les  sept  vertuz,  a  eulx  contraires, 
leur  augmentant  douleurs,  gueres, 
des  grandz  obprobres  leur  dorront, 
10.     et  puis  aussi  il  les  verront 
monter  lassus  en  paradis 
qui  donbtera  les  pleurs  et  crys 
aux  dessus  diets  peches  mortelz; 
et  por  ce  done  chrestiens  notez, 

15.  car  qui  peche  tous jours  suyvra, 

16.  en  paradis  jamais  nyra. 

V.  15(35).     Entire.     Eight  syll.    "Rimes  plates." 

Le  Messagier. 
i.     Omnes  nos  manifestari 

oportet  ante  tribunal  Christi 


120  Appendix  I. 

ut  referat  unusquisque    > 
prout  gessit  in  corpore, 
5.     sive  bonum  sive  malum. 

Je  vous  vous  prie  escoutez  done, 
noble  et  saincte  compagnie, 
lescripture  nous  testifie 
que  tous  au  jugement  serons 

10.     de  nostre  estat  conte,  et  vendrons 
en  la  vallee  de  Josaphat. 
Chascun  contera  de  son  estat 
ainsi  que  trouvons  par  escript; 
le  prophete  Joel  le  dit  ; 

15.     Congregabo  omnes  gentes 
in  valle  Josaphat 
et  disceptabo  cum  eis. 
La,  ou  chascun  juge  sera 
selon  le  bien  que  faict  aura, 

20.     le  pecheur,  meurant  obstine, 
a  tout  malheur  est  destine. 
Tel  sentence  de  Jesuchrist 
est  prof  ere,  S.  Jean  le  dit ; 
Ibunt  qui  bona  fecerunt 

25.     In  resurrectionem  vitae; 
qui  vero  mala  egerunt 
in  ignem  certe  aeternum. 
Cest  ce  que  principalement 
joyer  voulons  tout  maintenant, 

30.     Mais  pour  ce  que  tout  notre  bien 
de  Dieu  avons,  dou  vient  tout  bien, 
au  nom  de  noz  hystoriens 
le  prierons  a  joinctes  mains. 
Hie  oret  genibus  flexis 
capite  aperto,  vulte 
versus  orientem  verso. 
O  seigneur,  dieu  omnipotent, 

35.     nous  vous  prions  tres  humblement 
que  ce  soit  vostre  bon  plaisir 
de  nous  conduyre  et  secourir, 


Appendix  I.  121 

aux  fins  que  puissions  commanser 

moyenner  et  parachever 
40.     vostre  universel  jugement, 

a  vostre  honneur  premierement 

et  a  1'edification 

de  ceste  congregation 

par  Jesuschrist,  vostre  chair  filz, 
45.     qu'a  vostre  dextre  est  assis. 
Amen. 

Je  vous  prie,  noble  assistance, 

de  nous  prester  bonne  silence 

et  ouyr  en  devotion 

la  presente  remonstration ; 
50.     sont  plusieurs  poinctz  que  dieu  vivant 

fera  le  jour  du  jugement, 

car  de  joyer  perfectement 

ce  qu'il  adviendra  au  diet  temps 

nos  seroit  du  tout  impossible. 
55.     Chascun  vous  prie  soit  paisible 

et  je  suplie  le  createur 

voz  donner  sante  et  honneur; 
58.     qui  doit  commencer  si  commence. 

VI.  25  (5)  Entire.  Lines  1-42 ;  ballad,  with  masculine 
and  feminine  rhyme  used  purposely.  Ten  syll.,  "rimes 
melees."  Lines  43-106;  eight  syll.,  "rimes  plates"  and 
"rimes  melees."  Very  poor  syllabification. 

L'Acteur. 

i.     Puisque  faict  avons  narration 
Des  faictz  dignes  de  recordation, 
Ces  deux  jours  dernierement  passez, 
Out  fut  faict  I'ediffication 

5.     De  ceste  eglise  de  devotion, 
(I)  Je  croy  qu'il  vous  en  souvient  assez. 

Mais  plus  avant  il  nous  fault  proceder, 
Pour  ces  beaulx  faictz  dignement  recorder, 
Et  pour  reciter,  cy  a  brief  langaige, 


122  Appendix  I. 

10.     De  toy,  tres-saincte  Vierge  Marie, 

Comment  fut,  au  Puy,  sans  qu'on  varie, 
L'advenement  de  ton  glorieux  ymaige. 

Soyons  trestous  en  consolation, 
Laissons  corroux  et  desolation, 

15.     Pensons  aux  biens  que  Dieu  nous  a  laissez, 
Regardons  sa  grande  dilection, 
En  luy  rendant  de  graces  actions, 
II  est  raison  tres-bien  le  cognoissez. 
(II)  Recognoissons  aussi,  sans  plus  tarder, 

20.     De  Marie,  et  vueillons  regarder 

Et  entendre  de  tout  notre  couraige. 
Prestons  y  doulcement  tous  1'ouye, 
Ce  faisant  orrons  tous  je  vous  affie. 
L'advenement  de  ton  glorieux  ymaige. 

25.         Trestous  nous  faisons  jubilation 
A  ton  ymaige,  Fille  de  Sion, 
Et  n'en  voulons  nullement  faire  ces, 
Car  voyons  que  ta  representacion 
Nous  a  donne  illumination 

30.     En  ce  pa'is,  Vierge,  tu  bien  le  sgais ; 
(III).  Et  qui,  en  brief,  nous  vouldroit  demander, 

Qui  tant  de  maulx  nous  a  f aict  evader 
Le   temps   jadis   que   nous  portoient   dom- 

maige  ? 
On  diroit  sans  qu'on  y  contredire 

35.     Que  1'a  faict  et  on  le  certiffie; 

L'advenement  de  ton  glorieux  ymaige. 

Princesse,  vueilles  nous  contregarder 
De  ton  povoir,  aussi  interceder 
(IV)  Pour  tous  pecheurs  envers  le  Juge-mage 

40.     Ainsi  tenus  serons-nous,  quoy  qu'on  die, 
De  louer  toy  et  en  chacune  partie 
L'advenement  de  ton  glorieux  ymaige. 

A  ung  chacun  personnage, 
Soit  vieulx  ou  de  jeune  aage, 


Appendix  I.  123 

45.     Sera  recite  presentement 

Le  fructueux  advenement 

De  si  honneste  et  si  beau 

Et  si  vertueux  joyau 

Que  1'ymaige  Nostre-Dame  du  Puy. 
50.         Mais  pour  ce,  Vierge  que  tu  es  1'apuy 

Et  le  vray  confort  que  chacun  quiert, 

Et  pour  ce  que  la  matiere  requiert 

Que  de  ton  ymaige  on  proffere, 

Je  te  requiers,  glorieuse  Mere, 
55.     Qu'il  te  soit  plaisant  et  agreable. 

Haulte  compagnie  honorable 

Icy  ensemble  bien  unys, 

Que  je  croy  estre,  sans  fable, 

De  vraye  prudence  garnys, 
60.     Soyez  de  silence  fornys 

Pour  bien  entendre  a  brief  langaige 

Comme  advint  au  Puy  d'Amis 

Ce  tres-glorieux  et  sainct  ymage. 

Mais  avant  que  proceder  en  ouvrage 
65.     Duquel  avons  faict  mencion, 

Nous  ferons  cy  a  brief  langaige 

Une  recapitulation 

Des  reliques  qui,  sans  fiction, 

Y  font  en  grant  nombre  et  quantite, 
70.     Qu'ils  tiennent  en  leur  possession 

Comme  cy-aprez  sera  note. 

Pourquoy  ung  chacun  de  son  couste, 

Voyant  les  miracles  et  grans  signes 

Que  Dieu  montroit  en  ceste  cite, 
75.     Y  venoient  voir  choses  tres-dignes, 

Et  aulcunes  gens  tres-benignes 

Racomptoient  partout  la  renommee 

Et  les  grandes  graces  divines 

Dont  ceste  eglise  estoit  gouvernee 
80.     France,  pour  lors,  estoit  gouvernee 

D'ung  prince  qu'on  doibt  bien  extimer, 


124  Appendix  L 

Lequel  fut  meu  en  sa  pensee 
D'aller  voir  et  passer  la  mer 
Pour  y  poiser,  debvez  presumer 

85.     La  doleur  et  le  grief  tourment 

Que  Dieu  y  souffrit:   parquoy,  reclamer 
L'alloit  la  moult  devotement. 
Mais  il  se  pensa  premierement 
Qu'au  sainct  oratoire  du  Puy  d' Arris 

90.     II  viendroit  visiter  moult  dignement 
Et  avec  luy  plusieurs  de  ses  amys. 
Ainsi  le  f eit,  et  fut  par  luy  promys ; 
Que  quant  dela  retourneroit 
Ce  lieu  ne  seroit  par  luy  obmys ; 

95.     Ains  quelque  bien  y  porteroit. 

Ainsi  s'en  alia,  comme  chacun  croit, 
Ce  noble  prince,  sans  desroy, 
Aconpaigne,  entendre  Ton  doibt, 
De  gens  vaillans  et  en  tres-bon  arroy. 
100.        Or  je  vous  prie  tant  qu'est  a  moy, 
Que  imposez,  ung  peu  silence 
Vous,  joueurs,  dictes  en  presence 
Je  vous  en  pry  a  peu  paroles, 
Les  dictz  escriptz  dedans  voz  rolles. 
105.     Et  iceulx  vueillez  tost  pronuncer; 

Et  commance  qui  doibt  commancer. 

VII.  {36}  Entire.  Lines  1-28 ;  ballad  with  masculine 
and  feminine  lines  alternating.  Eight  syll.,  "rimes  melees." 
Lines  29-40 ;  ten  syll.,  "rimes  plates." 

Preco. 
i.     En  1'onneur  de  la  Trinite, 

En  qui  gist  toute  haulte  puissance, 
Vous  prions  qu'en  bonne  unite 
(I)  Veuillez  trestous  fere  silence, 

5.     Et  vous  verres  cy  en  presence, 
S'il  plaist  au  roy  celestien, 


Appendix  I.  125 

Jouer,  par  belle  demonstrance, 
Le  martire  saint  Adrien, 

Duquel  la  vie  en  verite 
10.     Vous  dira,  em  briefve  substance, 

Le  prescheur,  par  auctorite 
(II)  Qu'il  a  de  divine  science. 

Or  luy  vueilliez  done  audience 

Trestous  prester  par  bon  moyen, 
15.     Et  escouter  en  reverance 

Le  martire  saint  Adrien. 

Car  en  griefve  infirmite 
A  mainte  gens  donne  alegence ; 
Pour  ce  par  grant  sollenite 
20.     En  voulons  fere  remembrance. 

(III)  Sy  vous  prions  par  alienee 
Qu'en  ce  lieu  nous  fasiez  ce  bien 
De  vouloir  oyr  par  plaisance 

Le  martire  saint  Adrien. 

25.     Prince,  garde  de  toute  oultrance 
Ceulx  et  celles  qu'entendront  bien 

(IV)  Et  mectront  en  leur  souvenance 
Le  martire  saint  Adrien. 

Or  faictes  paix  trestous  communement 
30.     Et  escoutes  le  present  preschement 

Du  bon  seigneur,  qui  vous  dira  briefment 
Du  saint  martir  la  vie  entierement ; 
Puy  vous  verres,  s'il  plaist  au  roy  de  gloire, 
Et  il  vous  plaist  nous  prester  auditoire, 
35.     Du  saint  martir  jouer  toute  1'istoire. 

Or  la  vueilliez  mectre  en  votre  memore 
Priant  a  Dieu  et  au  martir  jaidiz 
Que  adresser  vueille  noz  faiz  et  diz, 
Et  qu'en  sa  grace  nous  maintienne  toudiz. 
40.     Sy  qu'en  la  fin  nous  doint  son  paradis. 


iz6  Appendix  I. 

VIII.  48  (3)  Entire.     Ten,  five  and  eight  syll.,    "rimes 
melees." 

Le  Prologue  comance. 
i.     Isidorus,  es  ethimologies 

Approuve  moult  les  historiographes, 
Car  il  monstre  les  genealogies 

(I)  Des  personnes  en  dignitez  logics 

5.     Dont  sont  escripts  volumes  et  paraphes, 
Et  Tulius  qui  cut  xij  epitaphes, 
Disait  ce  mot  aux  grans  et  aux  petis: 
"Hystoria  est  lux  veritatis." 

Hystoire  nous  fait 
10.     Voir  la  verite 

Des  gens  et  du  fait 

(II)  De  1'antiquite, 
Soit  mal  ou  bonte, 
Paix  ou  guerre  dure, 

15.     Tout  y  est  note 

En  belle  escripture. 

J'alegue  ceci  voulentiers, 

Car  tout  ce  que  jouer  debvons 

(III)  Par  motz  elegans  et  entiers, 
20.     Es  hystoires  nous  le  trouvons. 

Premierement  monstre  avons 
De  Sainct  Didier  la  passion, 
Maintenant  nous  parachevons 
En  jouant  la  translacion. 

25.     L'an  mil  xiij  avec  trois  cens 
Comptoit-on  pour  le  miliaire, 
Quant  le  Saint  par  moyens  decens 

(IV)  Fut  pose  en  reliquaire. 
Philippe,  le  roi  debonnaire, 

30.     Gouvernoit  ce  noble  royaulme 
Et  au  Lingonicque  repaire 
Presidoit  1'Evesque  Guillaume. 


Appendix  I.  127 

Estienne  de  Noyers  pour  lors 
Estoit  prieur  du  priore 
35.     Ouquel  reposoit  le  sainct  corps, 
(V)  Qui  de  chasse  fut  decore. 

Or,  nous  avons  delibere 
De  vous  en  monstrer  1'apparence ; 
Mais  que  chacun  soit  modere 
40.     Et  content  de  faire  silence. 

IX.  74  (iA)  Entire.     Five  syll.,   "rimes  melees." 

i.     Le  Coeur  tou jours  dure 

Quand  il  a  sa  cure 

Envers  Jesus-christ. 

La  saincte  Ecriture, 
5.     C'est  notre  pature, 

Du  coeur  louverture, 

Comme  par  ecrit 

De  prophete  diet; 

Amplement  deduit 
10.     Comme  vous  orrez 

Ne  mener  nul  bruit, 

Ains  prenez  deduit 

En  paix  vous  tenez. 

Si  vous  murmurez 
15.     Soyez  asseurez 

Que  nous  en  irons, 

Icy  vous  lairons. 

Pour  ce  vous  prions, 

Tant  que  nous  pouvons, 

20.  O  noble  assistance, 

21.  Faites  nous  silence. 


128  Appendix  I. 

X.  76  (5)  Entire.  Lines  1-21  ;  eight  and  four  syll. 
(aab).  Lines  22-84;  eight  syll.,  "rimes  melees."  81-84; 
"rimes  croisees,"  ending  division  of  prologue.  Lines  85- 
117;  eight  syll.,  "rimes  plates."  117-120;  (aba),  end- 
ing prologue. 

Le  prologue  la  tierce 
journee  de  la  vengan" 
ce  de  nostre  seigneur. 

Principes  convenerunt  in  unum 

adversus  dominum.     p.  ii. 
i.     Du  nom  de  dieu  le  createur 

et  de  son  filz  le  redempteur 

dhumain  lignage, 

que  les  juifz  firent  par  oultrage 
5.     mourir  en  croix,  ce  fut  dommage 

faict  par  envie, 

ceste  presente  compaignie, 

que  dieu  de  sa  grace  benye, 

veult  icy  estre 
10.     pour  ouyr,  entendre  et  congnoistre, 

selon  que  le  sens  de  la  lettre 

fait  demonstrance, 

comme  fut  prinse  la  vengance 

des  juifz  mauldis,  plains  darrogance 
15.     et  ambicion, 

qui  firent  souffrir  passion 

et  mort  par  grant  extorcion 

au  filz  de  dieu. 

Pourtant  vous  estans  en  ce  lieu 
20.     pour  voir,  par  maniere  de  gieu, 

lestat  comment 

destruicte  fut  totallement 

hierusalem  la  grant  cite, 

mettez  y  vostre  entendement 
25.     en  escoutant  paisiblement ; 

on  vous  en  prie  en  charite. 


Appendix  I.  129 

Moulte  fut  la  vengance  cruelle 

et  bien  estre  le  debvoit  elle, 

ainsi  que  bien  manifeste 
30.    peult  estre  en  raison  naturelle; 

mettons  que  la  chose  soit  telle ; 

Ung  roy  de  grant  auctorite 

est  present  en  une  cite, 

ou  ceulx  qui  lui  doibvent  service 
35.     le  veuslent  a  necessite, 

mettre  selon  la  verite.' 

Iceulx  commettent  ung  grant  vice 

et  selon  droit  et  equite 

comme  de  lese  majeste 
40.     ceste  bien  raison  quon  les  pugnisse. 

Ainsi  est  il  semblablement, 

le  roy  des  roys  du  firmament 

descendit  en  humanite, 

en  judee  premierement 
45.     con  versa  corporellement, 

vers  hierusalem  la  cite 

en  laquelle  publiquement 

il  prescha  solennellement 

monstrant  des  juifz  liniquite. 
50.     Par  les  diets  que  de  lui  oyoient 

et  les  miracles  quilz  veoyent, 

les  mauldictz  juifz,  faulx,  hostinez, 

clerement  congnoistre  povoyent 

quil  estoit  dieu,  et  le  scavoient 
55.     reallement,  mais  adonnez 

Tant  en  leurs  malices  estoient 

quen  rien  amender  ne  vouloyent, 

ne  par  lui  estre  endoctrinez 

par  doulces  persuasions 
60.     de  leurs  mauvaises  actions. 

Le  bon  roy  les  vouloit  retraire 

par  doulces  predicacions, 

par  divines  ostensions, 


130  Appendix  I. 

mais  les  juifz,  plains  de  mal  affaire, 

65.     hayoient  les  congrecacions 
et  les  sermocinacions 
que  le  saint  prophete  alloit  faire. 
En  fin,  centre  lui  se  benderent 
les  faulx  traistres  et  ordonnerent 

70.     de  la  faire  livrer  a  mort ; 

grant  vice  sur  lui  imposerent 
et  par  faulx  tesmoinez  lacuserent 
en  justice  tous  dun  accord. 
Les  princes  mesmes  le  jugerent 

75.     et  a  mourir  le  condannerent, 

qui  bien  scavoyent  quilz  avoyent  tort. 
Pourtant  se  maintenant  leur  vient 
quelque  grant  malediction, 
cest  bien  raison  il  appartient 

80.     quilz  en  seuffre  pugnicion, 
et  de  cecy  fait  mension 
david,  qui  en  son  livre  a  mise 
une  belle  proposicion 
la  quelle  a  mon  theume  jay  prinse: 

85.  Principes  convenerunt  in  unum. 
Cest  a  dire,  comme  il  me  semble, 
tous  en  ung  convenus  ensemble 
sont  roys  et  princes  de  la  terre 
pour  mener  a  leur  seigneur  guerre 

90.     centre  droit  et  sans  achoison, 
et  pourtant  est  ce  bien  raison 
que  pugnis  soyent  de  leur  merite, 
ainsi  que  david  le  recite 
aux  vers  dapres  quil  nous  bailla 

95.     cest  disrumpamus  vincula 
et  cetera.     Cela  veult  dire 
que  dieu,  nostre  souverain  sire, 
vayans  des  juifz  la  faulcete, 
dist  comme  par  grant  cruaulte, 
100.     rompon  des  juifz  les  alliances 


Appendix  I.  131 

et  getton  hors  de  noz  puissances 

leur  jou,  car  ilz  seront  mauldis 

et  de  grace  avoir  interdis, 

car  leur  faulte  est  trop  evidente. 
105.     Ainsi  par  raison  apparente, 

croire  povon  que  les  grans  maulx 

qui  vindrent  aux  juifz,  desloyaulx, 

fut  du  vouloir  de  dieu  le  pere, 

ainsi  que  a  ceulx  de  jouaspere 
no.     dont  jaffet  estoit  capitaine, 

desquelz  la  fin  fut  si  villaine 

comme  monstre  avons  devant. 

Apres  eulx,  le  temps  ensuyvant, 

fut  la  cite  de  jotapate 
115.     prinse  et  abatue  toute  plate 

durant  lempire  de  neron, 

ainsi  que  aujourduy  monstreron; 

pourtant  nous  prion  lassistence 

que  entretant  que  nous  joueron 
120.     nous  vuellent  donner  audience. 


132  Appendix  I. 

2.     PROVENCAL  PROLOGUES. 
I.  80  (iB)  Entire.     Eight  syll.,   "rimes  plates." 

Nuncius. 

I.     Jhesus-Christ,  filh  de  Mario, 
Que  tot  lo  monde  regis  et  genio, 
Vuelho  garder  la  compagnio 
De  tot  mal  et  vilhanio. 
5.     La  compagnio,  eyci  assembla, 
An  entrepreys  et  prepousa, 
Al  nom  de  Dion,  premieroment, 
De  juar  eyci  presentoment 
La  remembransso  dessus  dicho, 

10.     Como  laven  troba  escricho, 
Dal  minister!  et  passion 
Dal  valent  baron  Sant  Andriou. 
Et  quar  hystorio  ero  longo, 
You  vous  vauc  dire  dymengo, 

15.     Que  al  jort  duy  asson  honnour, 
Nous  honeran  et  assa  longour, 
Per  tant  vous  requier  humbloment 
Que  non  metas  empachoment 
Als  personages  ly  qual  joaren, 

20.     Tantuest  eyci  acomenssaren ; 
Et  sy  vous  preouc  faze  silencio 
et  prenes  vung  pauc  de  paciencio 
Al  ministeri  et  en  la  passion 
Que  a  suffert  lo  valent  baron. 

25.     En  crous  el  eys  volgu  murir 
Et  belcop  de  tormens  suffrir; 
Et  tot  per  aver  paradis. 

28.     Congiet  prenoc  de  vous,  amis. 


Appendix  I.  133 

II.  85  (iB)  Entire.    Lines  1-18;  tensyll.,  "rimes melees." 
19-30 ;  eight  syll.,  "rimes  melees." 

Lo  Messagier. 
i.     O  Diou  perfait,  regnant  en  Trinita, 

Al  qual  es  subiecto  humanita, 
(I)  Veuhes  tant  de  bello  gent  gardar 

De  mal  haver  et  de  necessita; 
5.     Qu'en  ton  honor  eyssi  s'es  incita 
Per  aquesto  Istorio  regardar. 

Plasso-te  de  los  contragardar 

O  bonta,  de  mal  los  preservar, 

(II)  Tu  qui  sios  de  tout  ben  la  vio, 

10.     Affin  que  mieys  poisson  contemplar 
Lour  salut,  per  lo  mal  retarder 
Qui  en  aquest  monde  plusors  desvio. 
O  eternalo  et  infinio 
Bonta,  que  jamays  sare  finio, 

15.     O  poyssance,  que  onques  n'a  fin, 
(III)  Te  preouc,  per  tu  sio  definio, 

D  avant  tant  bello  compagnio, 
L'Istorio  jusquos  a  la  parfin. 

Venerablos  presencios,  afnn 
20.     Que  vostre  cor  sio  plus  content, 

Contar  vous  voluc,  de  cor  fin, 
(IV)          Per  rendre  vostre  voler  atent. 

Vous  veyre  eyssi  en  present 

Juar,  ambe  devotion, 
25.     De  sant  Peire  et  Paul  plasent 

Le  tres  crudello  passion; 

Et  vous  preouc  per  compassion 
(V)  Que  chescun  si  fasso  silentio, 

Et  d'escoutar  hayo  intention; 
30.     Prenent  ung  pauc  de  paciencio. 


134  Appendix  I. 

III.  85  (2)  Entire.     Ballad.     Eight  syll. 

Lo  Messagier. 

i .     Segnours  et  donos  que  se  vengus 
Per  veyre  aquest  bel  exemplari, 
Qu'ave  los  beaulx  dis  retengus ; 
(I)  Encar  la  nous  es  nescessari, 

5.     Masque  Dion  garde  de  desvari, 
Que  y  f  erme  vostro  intencion. 
Garde-nous  Diou  de  temps  contrari 
Per  lo  merit  de  sa  passion! 

Peyre  et  Paul,  ambe  Simon, 
10.     Tantoust  veyre  vous  disputar 

Et,  apres  la  disputacion, 
(II)  Veyre  vous  ungn  mort  suscitar; 

Apres,  veyre  vous  rebutar 

Lo  magic  de  fauso  intencion. 
15.     Diou  nous  don  veyre  et  escoutar, 

Per  lo  merit  de  sa  passion. 

Puys  Simon,  fegnent  de  volar, 
Verre  vous  tombar  a  terro, 
Et  puys  los  diables  1'emportar 
20.     Ambe  grant  criour  et  guerro; 

(III)  Puys  apres  veyre  que  querre 
Peyre  et  Paul  mandare  Neron. 
Que  scoute  vous  volouc  requerre, 
Per  lo  merit  de  sa  passion ! 

25.     Apres,  veyre  donar  sentencio 
Que  tous  doux  sion  mes  a  mort. 
Pertant  fase  done  dilgencio 

(IV)  D'esser  atens  de  tout  esfort, 
Car  so  nous  es  grant  reconfort 

30.     Per  impetra  remission. 

Jesus  nous  duyo  a  bon  port, 
Per  lo  merit  de  sa  passion! 


Appendix  I.  135 

Juya  sare  murir  en  cros 

L'apotol  Peyre  debonayre, 
35.     Et  son  compagnon  precious, 
(V)  Paul,  talha  la  testo,  maltrayre. 

Pertant  chascun  se  vuelho  tayre, 

Escoutar  per  bono  intencion. 

Quesa-vous,  non  parle  plus  gayre, 
40.     Per  lo  merit  de  sa  passion ! 

Prince  eternal  et  inviseble,  (sic) 
(VI)  Que  sus  au  eel  fas  ta  mansion, 

Fay-nous  eysso  intelligible, 
44.     Per  lo  merite  de  ta  passion ! 

IV.  86  (iB}  Entire.     Ballad.     Eight  syll. 

Lo  Messagier. 

i.     Seignors  et  donos  que  se  eyci, 
Per  veyre  lo  juoc  assemblas 
En  1'honor  de  Diou  et  marci, 
(I)  Plasso  vous  d'istar  tos  en  pax, 

5.     Et  si  veyre,  de  pas  en  pas, 
Personagear  la  bello  ystorio 
De  sanct  Pons ;  et  n'y  f  alhe  pas 
D'y  mettre  ben  vostro  memorio. 
Vos  veyre  eu  grant  triomphe  et  glorio 
10.     Juar  tost  sa  nativita, 

Como  en  la  vito  transitorio 
(II)  Fosec  de  ben  far  incita. 

Car  en  Romo,  la  grant  cita, 
Per  lo  sanct  papo  Poncian 
15.     Fosec  instruch  la  verita; 

Et  puis  apres  se  fee  xrestian. 

Marcus,  son  payre,  per  certan, 
Et  Valeri,  Tadoloscent,  (sic) 
Foron  bateas  aquel  an ; 
20.     Sa  meyson  aussi  enseguent 


136  Appendix  I. 

(III)  Vivent  sanct  Pons  si  doulcement 
Ambe  los  meindres  et  los  mours 
Se  fee  amar,  et  talloment 
Qu'el  couvertec  dos  emperours 

25.     Prince  punent  prevaricours 

(IV)  Et  qui  bons  voiles  premiar 
Gardo-nos  de  dangiers  et  pours 

28.     Eyssint  poyren  principiar. 

V.  86  (2)  Entire.     Ballad.     Eight  syll. 

Lo  Messagier. 

i.     Al  nom  dal  tres  hault  re  de  glorio, 
Nobles  seignors  cy  congregas, 
Tornant  lo  jorn  passa  en  memorio, 
(I)  Escota  sens  menar  grant  fras. 

5.     Los  personaiges  son  intras 
Lor  lojos  per  persona  jar; 
Dont  vos  pren  que  tos  en  pax 
Vos  vueilha  dossament  lojar. 

Nota  sobre  tot  lo  martiri 
10.     De  sanct  Pons  et  sa  passion 

Qu'el  ha  suffert  desoubz  rempiri, 
(II)  Aspre  tiran  sens  compation. 

Plasso  a  vostro  discretion 
Retenir  las  diversitas 
15.     De  sos  tormens ;  per  fiction 
Ellos  vos  saran  recitas. 

Et  nota  como  tribulas 
Son  agus  los  tres  sanctz  martirs, 
(III)  Batus,  attris,  patibulas, 

20.     Au  surplus  jugulas,  murtris. 
Devotament  en  nos  contris 
Tot  eyso  nos  chal  contemplar 
Per  acquistar  lo  paradis, 
Ont  nos  deven  tostens  ystar. 


Appendix  I.  137 

25.     Prince,  vueilhos  administrar 
(IV)  Lo  dom  de  pax  en  cesto  plasso, 

Affin  que  poyssan  remonstrar 
28.     Chauso  qu'a  ta  bonta  sy  plasso. 

BRETON    PROLOGUES. 

Text  and  Translation. 

I.   [C]    Lines   1-24.     Four,   six   line,   five   syll.   stanzas, 
'rimes  melees." 

An  test. 

(I)     Dre  compassion 
Ouz  an  passion 
On  Roe  deboner, 
Ez  die  pep  heny 
Goelaff  a  devry, 
Nac  eu  mar  fier 

(II)     Rac,  dre  e  douczder, 
Evit  hon  salvder, 
Dez  guener  an  Croas, 
Heb  ober  nep  drouc 
Na  breig,  oar  he  chouc 
Hon  drouc  a  dougas. 

(III)  Hizieu  mab  Doe  Tat 
A  marvas  e  grat, 
Dre  pechet  Adam, 
Hep  pechif  un  pas: 
Nac  an  aval  glas 
Eff  ne  debras  tarn. 

(IV)  Dren  Guerches  dinam, 
Eu  deffoe  da  mam, 
Doe  en  dilamas; 

Ez  deuz  en  douar 
Da  doen  hon  glachar; 
Mar  meur  hon  caras ! 
10 


138  Appendix  I. 

Le  Temoin 

(1)  Par  pitie  pour  la  passion  de  notre  bon  Roi,  chacun 
doit  pleurer  de  tout  son  coeur,  si  superbe  qu'il  soit ; 

(2)  Car,  dans  sa  clemence  pour  notre  salut,  le  vendredi 
de  la  Croix,  sans  avoir  fait  aucun  mal,  ni  cause  aucun  trou- 
ble, sur  ses  epaules  il  porta  nos  maux. 

(3)  Aujourd'hui,  le  fils  de  Dieu  le  Pere  est  mort  de  son 
plein  gre  par  la  faute  d'Adam,  sans  avoir  peche  ni  mange 
morceau  de  la  pomme  fatale. 

(4)  Du  sein  d'une  vierge  immaculee  qu'il  eut  pour  mere, 
Dieu  le  fit  sortir ;  il  vint  sur  la  terre  pour  porter  nos  maux ; 
tant  il  nous  aima ! 

II.  [F]  Lines  1—12.  Two,  six  line,  five  syll.  stanzas. 
"Rimes  melees."  Lines  25-36.  Two,  six  line,  eight  syll. 
stanzas.  "Rimes  melees." 

An  Test. 

(I)     Breman,  pobl  an  bet, 
Gant  fez  euezhet, 
Hac  ez  guelhet  buy 
Ystoar  hon  cares 
Barbara,  guerches 
Leun  a  courtesy. 

(II)     Merch  dan  roe  voe  hy 
A  Ycomedy 
Den  malicius 
Leun  a  disenor 
Ha  guerch  ac  error 
Roe  Dioscorus. 

Le  Temoin. 

(1)  A  present,  peuple  du  monde,  soyez  attentif  avec  foi 
et  vous  verrez  1'histoire  de  notre  chere  Barbe,  vierge  pleine 
de  courtoisie. 

(2)  Elle  etait  fille  du  roi  de  Nicomedie,  du  roi  Dioscore, 
mechant  homme  rempli  de  felonie,  de  violence  et  d'erreurs. 


Appendix  I.  139 

An  Introduction. 

Lines  25-36. 

(V)     Entroch,  pobl  guiryon,  deboner, 
Cruet  silance  ha  maz  commencer 
Antier  dre  myster  disclaeryet 
Clouar  ystoar  sante  Barba 
Ma  net  gouzvech  pe  a  lech  va, 
Pep  stat  gant  ioa  he  coffha  gruet. 

(VI)     An  guerches  man  ameux  hanuet, 
Da  Dioscorus,  den  ruset, 
Rac  affet  a  Ycomedy 
Ezoa  hy  merch,  leun  a  guerchdet ; 
Eff  he  cere  pep  heur  meurbet 
Er  nen  deuoa  quet  nemet  hy. 

Le  Prologue. 

(5)  Vous  tous,  gens  fideles  et  bons,  faites  silence  afin 
que  Ton  se  mette  a  representer  tout  entiere,  sous  la  forme 
d'un  mystere,  la  douce  histoire  de  sainte  Barbe.     Peut-etre 
ne  savez-vous  pas  quel  etait  son  lieu  de  naissance?      En 
tout  cas,  on  va  vous  rappeler  cette  sainte,  pour  votre  plaisir. 

(6)  Cette  vierge  que  j'ai  nommee,  elle  etait  la  fille  pleine 
de   purete    de    Dioscore,    homme   ruse,    roi    inconteste    de 
Nicomedie;   il  ne  cessait  de  1'aimer  tendrement,  n'en  ayant 
point  d'autre  qu'elle. 


APPENDIX  TO  PART  II 

LATIN   QUOTATIONS   FOUND  IN   THE  OLD  FRENCH   PROLOGUES. 

[9]     (A),      16.     Quia  profficit  absque  Deo 

Nullus  in  [or] be  labor. 
57.     Est  tibi,  viergo  maria,  etc. 
85.     In  omnibus  bene  dicere, 
Et  in  nullo  de  mare, 
Potius  divinitatis 
Quam  humanitatis, 
Ab  hoc  cause,  cerenitatis 
Redeo  ad  prepositum, 
Resumando  themma  scriptum, 
Nunciate,  etc. 

189.     Propter  scelus  populi  percussi  eum 
(B),        i.     Magnus  dominus  et  magna  virtus 

Ejus,  et  sapiencie  ejus,  non  est  numerus. 
45.     Accipite  et  manducate, 
Hoc  est  corpus  meum. 
57.     Heredes    quidem    Dei    erhendes    autem 

Christi. 

[14],  i.     Sit  nomen  domini  benedictum 

[15]  (36),      i.     Omnes  nos  manifestari 

oportet  ante  tribunal  Christi, 
ut  referat  unusquisque 
prout  gessit  in  corpore, 
sive  bonum,  sive  malum. 
15.     Congregabo  omnes  gentes 
in  valle  Josaphat 
et  disceptabo  cum  eis. 
24      Ibunt,  qui  bona  fecerunt, 
In  resurrectionem  vitae ; 


Appendix  II.  141 

qui  vero  mala  egerunt, 
in  ignem  certe  aeternum. 
[17],  I.     Laudate  Dominum  in  santis  ejus. 

9.     Ditto. 
161.     Ditto. 
[18],  i.     In  principio  creavit  Deus  celum  et  terram, 

etc. 
17.     In  principio  etc. 

81.  In  sempiterna  secula. 
[19]  (A),        i.     Veni  ad  liberandum  nos, 

Domine  Deus  virtutem! 

82.  Ditto. 
130.     Ditto. 

(4),         i.     Resurrexi  et  adhuc  tecum  sum. 
12.     Ditto. 

32.     Astiterunt  reges  terre 
130.     "J'ay  fait  plus  fort :"  resurrexi, 
Et  primus  dormiencium 
vivo,  et  adhuc  sum  tecum. 

[25]  (i),       10.     "Disons  tous,"  Ave  gratia  plena. 
80.     Memor  fui  operum  Domini, 

Quia    memor    ero    ab    initio    mirabilium 

tuorum. 
(2),     109.     Si  dormiatis  inter  medios  cleros, 

Invenietis  penne  columbe  deargentate, 
Et  posteriora  dorsi  ejus  in  pallore  auri. 
[26],  i.     Deus  in  adjutorium 

15.     Deus  in  adjutorium  meum. 
137.     Fidelium  defunctorum, 

Per  secula  seculorum. 

[27]  (A),        i.     Verbum  caro  factum  est. 
25.     Ave  maria,  gracia  plena. 
Verbum  caro  factum  est. 
[29]  (i),       49.     A  summo  celo  egressio  ejus. 

58.     Et  occursus  ejus  usque  ad  summum. 
(3),         i.     Circumdederunt     me     gemitus     mortis, 
dolores   inferni   circumdederunt  me. 


142  Appendix  II. 

[29\  (3)>       I]L     Circumdederunt  me  dolores  mortis. 

32.     Ditto. 

(4),         i.     Surrexit  Dominus  vere.     M°.  ultimo. 
46.     Surrexit  Dominus  vere. 
68.     Ditto. 

178.     In  seculorum  secula.     Amen. 
[32],  i.     In  principle  creavit  Deus  coelum  et  ter- 

ram,  etc. 

19.     In  principio,  etc. 
23.     Ipse  dixit  et  facta  sunt, 

Mandavit  et  creata  sunt. 
38.     In  morte  hujus,  vita  mortuorum  inventa 
est:   Justus  homo,  post  mortem  tertia  die, 
de  monumento  resurget. 
113.     "Puis  tost"   Noly  me  tengere! 
129.     In  sempiterna  secula. 

[33]  (T)>         *•     Descendit  ad  inf eros ;  tercia  die  resurrexit 
a  mortuis,  ascendit  ad  celos, 
sedet  ad  dexteram  dei  patris  omnipotentis. 

31.  Pater  noster  et  cetera, 
Et  ave  gratia  plena. 

34.  Pater  noster.     Ave  maria. 

38.  Descendit  ad  inf  eros. 

(2),         i.  Tercia  dia  resurrexit  a  mortuis. 

n.  Ditto. 

32.  Ditto. 

(3),       10.     Ascendit  ad  celos,  sedet  ad  dexteram  dei 

patris  omnipotentis. 
34.     Ditto. 
76.     Ditto. 

[39]  (0>         l-     I*1  conspectu  astantium  adjutor  factus  es 
mihi.     Et  liberasti  corpus  neum  a  perdi- 

tione, 

et  eruisti  me  de  tempore  inique. 
12.     Ditto. 

1 6.     Sapientia,  vincit  malitiam. 
28.     Igitur  sapientia  vincit  malitiam. 


Appendix  II.  143 

[48]  (3),         8.     Hysteria  est  lux  veritatis. 
[54],  i.     In  memoria  eterna  erit  Justus. 

4.     Per  seculorum  secula.     Amen. 
[58],  21.     Qui  ex  deo  est,  verba  dei  audit. 

[65],  135.     "Et  pour  ce  ay  je  dit,"   venite 

opera  dei  videte. 
157.     Ille  qui  vivit  et  regnat 

In  secula  seculorum.     Amen. 
[67],  i.     Memorare  novis[sim]a  tua  et  in  eterna 

non ecclesiasti  ....  hec  verba 

scribuntur. 
13.     Juxta  augustium  super  decreto 

Nil  valet  esse  donum  quasi  fit  a[liqu]o 
Capitulo  primo,  questione  oct[av]a 
18.     Omne  datum  optimum  et  omne  donum 
perfectum  de  sursum  est  descendens. 

a  patre  animum 

Jacobi  primo 

38.     Memorare  novissima  tua. 

[68],  i.     Bead  qui  persecussionem  pasciuntur 

propter  justiciam,  quoniam  ipsorum 
est  regnum  celorum — Matthei.     V°. 
17.     Beati  qui  persecussionem,  etc. 
[73],  i.     Vidimus  stellam  ejus  in  Oriante  et 

venimus  cum  muneribus  adorare  Domi- 

num. 

20.     Vidimus  stellam  ejus,  etc. 
150.     In  sempiterna  secula. 
[76]  (i),         i.     Quare  fremuerunt  gentes  et  populi  medi- 

tati  sunt,  inania. 

(2),         i.     Qui  habitat  in  celis,  etc. 
114.     Que  fuerunt  verba  vestris 
dominationibus  presentata. 
(3),         i.     Principes  convenerunt  in  unum  adversus 

dominum. 

85.     Principes  convenerunt  in  unum. 
95.     "Cest"  disrumpamus  vincuja. 


144  Appendix  II. 


PRAYERS  AND  INVOCATIONS. 

[9]     (iB),      2.    A   haulte    sapience    de    Dieu,    quil    tout 

gouverne, 
Quil  tous  secres  enserche,  tous  jugemens 

discerne, 
Nous  soit  vray  conseil,  par  son  divin  mis- 

tere. 

Prions  devotement  a  la  vierge,  tres  clere, 
Pucelle  glorieuse, 

Tresor  de  sapience,  mere  de  Dieu,  joieuse, 
Quelle  la  nous  inpetre,  devers  la  court 

divine. 
82.     Le    port    et   le    passaige,    nous    face    et 

apperille 
La   dame   precedant,   quil   oncques   nont 

pareille. 

[14],  2.     Nous  prierons  tous,  tres-humblement, 

Nostre  seigneur,  en  cest  place, 
Qu'il  nous  doint  trestous  sa  grace. 
A  moy  sur  tous,  premierement, 
Et  puis  a  vous,  secondement, 
A  moy,  qu'il  me  vueille  conduyre 
Si  bien  qui  je  vous  puisse  dire 
Chose  pourquoy  pourrez  acquerre 
L'amour  de  dieu,  ca  bas  en  terre, 
A  vous,  que  vous  doint  tellement 
Retenet  bien  entierement, 
Et  qui  sera  fait  et  dit 
Que  ce  soit  vostre  proffit, 
Et  nous  doint  tellement  parfaire 
C'est  histoire,  c'est  exemplaire, 
Que  se  a  la  gloire  et  honneur 
De  dieu,  nostre  pere  et  seigneur, 
Et  de  ceux  qui  se  fait  f eront 
Devant  tous,  ceux  qui  y  seront. 


Appendix  II.  145 

[15]  (36),    30.     Mais  pour  ce  que  tout  notre  bien 

de  Dieu  avons,  dou  vient  tout  bien, 
au  nom  de  noz  hystoriens, 
le  prierons  a  joinctes  mains. 

"Hie    oret    genibus    flexis,    capite    aperto,    vulte    versus 

orientem  verso." 

34.     O  seigneur,  dieu  omnipotent, 

nous  vous  prions  tres  humblement, 

que  ce  soit  vostre  bon  plaisir 

de  nous  conduyre  et  secourir, 

aux  fins  que  puissons  commanser 

moyenner  et  parachever 

vostre  universel  jugement, 

a  vostre  honneur  premierment, 

et  a  1'edification 

de  ceste  congregation, 

par  JesusChrist,  vostre  chair  filz, 

qu'  a  vostre*  dextre  est  assis. 

[17],  i.     Dieu,  Pere  et  Filz  et  Saint  Esperit, 

Sauve  et  gart  ceste  compaignie! 

[18],  73.     Sy  requerrons,  luy  et  sa  mere, 

Que  le  puissons  si  bien  entendre 
Que  en  nos  cuers  veille  descendre, 
Et  qu'eslire  puissions  la  voie 
De  Paradis,  la  noble  joie, 
A  laquelle  nous  doint  venir 
La  Trinite  qui,  sans  fenir, 
Fut  et  est  et  tousjours  sera 
"In  sempiterna  secula." 

[19]  (iA),  210.     A  1'ayde  du  createur, 

lequel  nous  doint,  par  sa  doulceur, 
si  bien  faire  et  vous  bien  ouir, 
qu'a  la  parfin,  puissions  jouir 
de  la  vision  eternelle 
de  Dieu  en  gloire  supernelle. 

[19]  (4),     167.     Je  pry  Dieu  qu'il  veille  conduire 
tous  nos  entendemens,  afiin 


146  Appendix  II. 

[19]  (4),  que  nous  la  puissons  traire  a  fin 

a  1'honneur  du  tres  doulx  Jhesu 
et  a  nostre  bien  et  salu. 

[25]  (2),       32.     A  le  bien  servir  soyons  adonnez, 

Car  il  nous  soubstient  et  a  soubstenus. 

[26],  2.     Entre  nous  tuit  deprion, 

S'il  ly  plaist,  qu'il  me  doint  sa  grace, 
Que  tel  chose  je  die  et  face, 
Qui  nous  soit  pourfitable  a  Tame. 
19.     Priez-ly  que  garder  nous  vueille, 

Que  1'anemy  ne  nous  acueille. 
131.     Or  ly  prions  tous,  sanz  faintize, 
Qu'il  nous  doint  faire  tel  servize, 
Par  confesse  et  par  penitance. 
Et  par  vraie  repantence, 
Par  quoy  nous  puissions,  trestuit,  estre 
La  sus,  en  la  gloire  celestre. 

[27],  in.     Soit  done  tout  cueur  de  bonnaire, 

Deligent  a  considerer 
Ce  que  voulons  memorer 
De  la  passion  jesuchrist. 

[32],  1 1 8.     Sy  prions  Dieu  devostement 

Que  noz  pechiez  entierement, 
Nous  vueille  a  touz  pardonner. 

[33]  (iA),    18.     Mais  faisons,  sil  vous  plaist  aincoys, 
Supplicacion  et  priere 
A  dieu,  nostre  souverain  pere, 
Quil  nous  daint  grace  de  jouer 
139.     Priant  dieu  quil  vueille  garder 
Tous  ceulz  et  celles  qui  liront 
Devotement,  et  qui  orront 
Le  traicte  de  notre  extreprise. 
(2),       21.     Nous  ferons  premier,  oraison 
telle  comme  hier,  en  verite, 
A  dieu  qui  maint  en  trinite 
et  a  la  vierge  debonnaire, 
Quil  luy  plaise  priere  faire 


Appendix  II.  147 

Pour  nous  tous,  et  nous  adrecer 

A  la  saincte  foy  exaulcer. 
[39]  (2),         i.     Jesus,  que  tous  devons  prier, 

Le  Filz  de  la  Vierge  Maria, 

Vueille  Paradis  octroyer 

A  ceste  belle  compagnie. 
21.     Prions  la,  (Sainte  Barbe)  en  ceste  journee, 

Quelle  nous  garde  de  diffames, 

Et  que  la  gloire  soit  donnee 

De  Paradis,  a  toutes  ames. 

[40],  4.     Vous  soyes  les  tres  bien  venus. 

[52],  2.     Que  pais,  joye,  lyesse  et  bon  jours 

Soit  donne  a  trestous  vous. 

Sainte  bonne  vie  et  grace, 

Et  de  bien  vivre  a  tous  espace 

[56],  2.     Que  Diex  vous  soit  garans  as  ames! 

[58],  i.     En  nom  du  pere  et  du  filz 

Du  sainct  esperit  en  unite 

Entendez  tous  grans  et  petis. 
47.     Chascun  y  ayt  le  cueur  enclin, 

Car  le  plus  beau  est  a  la  fin. 
[66],  i.     Le  Dieu  qui  net  le  firmement, 

Et  volsist  naistre  purement 

De  la  noble  Virge  Marie, 

Veullie  garder  la  compagnie. 
[67],  i.     Le  tresdoulx  sauveur  Jhesu  Christ, 

Que  est  filz  de  la  vierge  marie, 

qui  le  monde  format  et  fist, 

Vullie  garder  la  compagnie. 
29-     Chascun  de  nous  sy  doit  savoir 

Que  nous  devons  le  cuer  avoir 

A  Dieu,  qui  nous  fist  et  forma. 


148  Appendix  II. 

REFERENCES   TO    HEAVENLY   AID. 

[9]  (A),    168.     Puis  verres,  a  laide  de  Dieu, 
[12],  31.     Se  dieu  nous  en  donne  puissance 

[13]  (i),       10.     Sil  plait  a  dieu 

21.     Que  par  sa  grace,  il  nous  soil  adjusteur. 
[13]  (2),         6.     Sil  plait  a  la  bonte  divine. 
[14],  4.     Qu'il  nous  doint  trestous  sa  grace. 

[18],  69.     Ce  Dieu  plaist 

[19]  (lA),  127.     Ung  chacun  de  nous  requerra 

La  Vierge  qu'el  ne  veille  faindre 
a  nous  bien  regir  et  constraindre. 
210.     A  1'ayde  du  createur 
[4],  167.     Je  pry  Dieu  qu'il  veille  conduire 

tous  nos  entendemens, 

[25]  (*)>         3-     Se  a  Dieu  plaist  et  Nostre  Dame 
12.     e  requerrai  a  Dieu,  devant, 

Trois  requestes,  par  vraye  priere, 
[26],  2.     Entre  nous  tuit,  deprion 

S'il  ly  plaist,  qu'il  me  doint  sa  grace 
[27],  18.     Que  grace  nous  soit  entendue 

[29]  (i),       42.     Dieu  le  nous  doinst  parfaire,  a  joie. 
79.     Ou  nom  de  la  divine  Essence, 
Qui  par  le  doulceur  et  clemence, 
Nous  veulle  aidier  a  bien  parfaire. 
(4),       38.     Elle  nous  veulle  eslargir. 
[33]  (iA),    21.     Quil  nous  daint  grace  de  jouer. 
113.     Se  dieu  plaist. 
148.     Se  dieu  plaist. 

(2),       74.     En  priant  dieu  quil  le  nous  doint 
(2),         i.     pour  acomplir,  a  laide  de  dieu, 
(iB),  108.     En  priant  Dieu,  qu'il  nous  doint  grace 
[35],  7.     (Jesus)  Je  te  requier,  de  franc  corage, 

Que  m'ayes  pour  recommande. 
40.     (Jean   le    Prieur)    Le   print,   priant   son 

createur, 
47.     Mais  que  Dieu  nous  preste  sante. 


Appendix  II,  149 

[36],  6.     S'il  plaist  au  roy  celestien, 

33.     Puy   vous   verres,   s'il  plaist  au   roy   de 

gloire, 

[48]  (i),       22.     Moyennant  la  grace  de  Dieu. 
131.     Ce  que  nous  veuille  conceder 

Dieu,  qui  triumphe  en  hault  empire. 
[55]  (3 A),      8.     Moyennant  layde  de  dieu. 
[58],  150.     Je  requier  la  vierge  honoree, 

Que  nostre  fait  prengne  a  plaisir, 
Et  de  jouer  ayons  loysir. 

[65],  137.     Si  nous  doint  dieu  belle  journee, 

beau  temps,  et  science  aournee, 
Parfait  memore,  et  telle  espace 
que  histoire  ici  se  face. 
[66],  15.     Moyen  de  Jesuschrist  la  grace, 

21.     Auquel,  sil  plait  a  Dieu,  verres 
[67],  7.     Premer,  nous  est  tres.necesseyre 

de  Dieu  avoir  la  sainte (grace?). 

216.     duquel  au  plesir  de  dieu 
[68],  15.     S'il  plaist  a  Dieu  qu'en  mon  propos  per- 

siste, 

36.     Luy  suppliant  qu  a  son  plaisir  puisse  estre 
44.     A  laide  Dieu,  createur  tout  puissant, 
173.     Nous  esperons  avoir,  sil  plaist  a  Dieu. 
1 80.     Dedans   trois   jours,   si   Dieu   plaist,   en- 
tendons 
28.     Sy  plaist  a  Dieu,  1'esperitable. 


PROVERBS  AND  COMPARISONS. 

[4] ,  10.     Comme  le  soleil  la  voirriere 

Trespasse  et  si  remaine 
Sans  la  corrompre  nullement. 

47.     Voit  on  santant  plus  douls  que  sucre. 

52.     Qui  nous  commande  a  honnourer 
Pere  et  mere  pour  demourer 
Sur  terre  en  vie  longuement. 


150  Appendix  II. 

[4],  90.     (viellesse)    Par    la    nous    convient    tous 

passer. 
[9],    (A),       7.     Du  ciel  imperial, 

A  tout  homme  honneur  vient. 
12.     Que  laveu  nullement 

Que  homme  ne  femme  face 
Sans  layde  omnypotent 
Ne  peult  valor  en  place. 
(B),       20.     Oncques  rien  ne  fit  Dieu. 
Se  nest  par  grant  devise. 
23.     Cest  arbre  le  filz  Dieu,   dont  mesmoire 

avons  fait 

Feulla  flurit,  fit  fruit  en  son  aige  parfait, 
Les  feullez  quil  getta,  sont  predicacions, 
Les  fleurs  sont  les  vertus,  les  operacions. 
Le  fruit  quil  en  sailit,  fut  la  redempcion. 
60.  (les  prestres)  II  sont  les  cherubins,  a  la 

flamblant  espee, 
Qui  les  pervers  enchassent  et  aux  bons 

font  lantree. 
Leurs  languez  sont  les  clerfz,  pour  para- 

dix  ovrir. 
Aux  pecheurs,  quil  leurs  vices  leur  voul- 

dront  descovrir 

73.     Dit,  estes  cherubin,  cest  plante  de  science, 
Vous  estes  la  clarte  en  la  maison  Dieu 

mise, 
Vous  estes  la  banniere  de  toute  saincte 

eglize. 

[10],  16.     Et  plus  cler  que  les  sept  planectes. 

46.     Vers  le  ciel  te  haulses  autant 

Que  leaue  de  la  mer  est  parfonde. 
56.     La  fueille  estoit  si  tresfort  large 
Par  ambas,  et  si  espandue, 
Quelle  me  faisont  une  targe. 
162.     (branches)    Les  aultres  droictes  comme 
jons 


Appendix  II.  151 

181.     (arbre)  Se  scavoir  veulx  qui  la  semee 
II  te  fault  chercher  la  racine. 

213.     Tout  bien  paye,  doit  estre  quicte, 
Et  des  biens  faicts,  remuneres. 

219.     Car  on  doit  a  ses  biensfaiteurs 
Retribuer  de  sa  puissance, 
Et  doit  on  a  ses  protecteurs 
Donner  tous jours  preeminence. 

232.     Le  pie  de  pastoration 

Qui  est  de  bien  servir  le  maistre 
Du  pie  de  contemplacion. 

243.     Car  tantbst  est  celluy  aduit 
Qui  sans  ordre  se  determine, 
Et  qui  bien  veult  louer  le  fruit, 
II  doit  parler  de  la  racine. 

259.     Et  nota  que  qui  veult  enquerre 
Dont  les  plus  nobles  sont  creez, 
II  nen  peut  mieulx  science  querre 
Quau  lieu  ou  tous  hommes  sont  nez. 

289.     Car,  qui  veult  louer  son  seigneur 
Doit  commencer  a  la  naissance. 

293.     Et  je  croy  que  qui  bien  commence, 
La  fin  vient  a  son  appetit 

298.     (ung  chemin)    Car   cestoit   comme   ung 

lieu  desert. 
[12],  9.     Que  ses  euvres  sont  appellees 

Miroir  des  dames  mariees. 
15.     Car  qui  bonne  parole  entent, 
Sa  lui  ne  tient,  il  en  attent 
Aucun  prouffit  en  son  affaire 
18.     Si  fait  bon  oyr  exemplaire 
Et  bonnes  vertus  raconter. 
22.     Et  cil  qui,  par  derision 

Ou  par  rudeste,  nen  a  cure 
Je  doubte  que  de  sa  nature, 
II  ne  soit  de  peu  de  vertu. 
26.     Et  pour  ce,  que  plus  est  meu 


152  Appendix  II. 

[12],  Le  cuer  de  lomme  par  veoir 

Que  par  lire  sanz  plus  savoir. 
[19]  (lA),  196.     Vierge,  qui  mere  devoit  estre 

Pour  porter  le  doulz  fruit  celestre 
(3),       44.     (Passion)  En  ce  miroir  considerant 

95.     Ou  il  resplendy  comme  Tor, 
(4),         7.     La  haulte  vierge  tresoriere 

Marie,  de  grace  aulmonniere 
[20]  (4),         3.     Marie,  Ihumble  tresoriere 
[26],  23.     Qui  bon  maistre  sers,  bon  loier  atent. 

34.     Diex  n'ot  oncques  commencement, 
Ne  jamais  ne  definera. 
Diex  est  et  tous jours  Diex  sera 
[29]  (3)j         6.     Vers  la  tresoriere  de  grace 

19.     II  n'est  nul  cuer,  il  fust  de  marbre 
Plus  dur  a  ploier  que  gros  arbre, 
Qui  plorer  ne  doive  et  gemir. 
(4),         3.     Que  rhomme  qui  laboure  ou  oeuvre, 
Et  en  oeuvrant,  commence  ung  oeuvre, 
S'il  ne  maine  a  conclusion 
Son  oeuvre  et  operacion 
Son  labeur  petit  lui  proffite 
Et  guieres  n'acquiert  de  merite. 
13.     Peu  nous  vauldroient  les  biens  fais 
Qu'en  no  vivant  ariesmes  fais, 
Pour  ce  s'en  vivant  bien  faisons, 
En  la  fin  ne  nous  deffaisons, 
Car  ceulx  qu'en  vivant  bien  feront 
Et  puis  en  la  fin  mefferont, 
Telle  comme  leur  fin  sera, 
Leur  fin  tel  loyer  leur  fera. 
31.     Celui  qui  sert  et  ne  persert 

Souventes  fois  son  loyer  pert, 
36.     (la  dame)  Qui  est  de  grace,  tresoriere. 
61.     Le  jour  d'hier,  mort  nous  signifie, 

Le  jour  d'huy,  nous  present  vie. 
[32],  13.     Comme  non  pareil  de  value. 


Appendix  II.  153 

61.     Quant  fruit  devint,  en  fruit  mortelle 
Naissant  d'ente,  d'apre  racine, 
Pour  faire  au  monde  medicine. 
76.     Du  sane  qu'a  f rans  ruisseaus  rendy. 
84.     Des  sains  angles,  plus  doulz  que  sucre. 
[33]  (iA),  126.     Car  en  ce  monde  ne  converse 
Si  bon  charetier,  qui  ne  verse ; 
Ne  si  bon  tailleur,  qui  ne  faille 
A  bien  fournir  a  ce  quil  taille. 
[35],  86.     En  depriant  le  fruit  de  vie. 

[39]  (J)»       24-     Que  sapience  vainquit  malice. 
[48]  (i),         3.     Quant  il  nous  diet  que  I'homme  raisona- 

ble, 

Tant  soit  instable  au  monde  variable 
Et  miserable,  appette  de  sgavoir 
6.     II  dit  bien  voir,  car  chascun  fait  debvoir 
D'oyr,  de  voir,  d'enquerir  et  d'aprandre, 
Cuidant  en  fin  toutes  choses  comprandre. 
9.     Tout  creature 
Sans  exception 
De  propre  nature 
Quiert  instruction 
(2),         6.     Se  Cesar  cut  bruyt  de  victoire 

Par  dessuz  tous  ceulx  de  1'empire 
Aussi,  eut-il  honneur  d'escripre. 
1 6.     On  ne  peult  trop  de  biens  ouyr. 
40.     Vous  sc,avez  que  nul  n'est  parfait. 
(3),         8.     Hysteria  est  lux  veritatis. 
9.     Hystoire  nous  fait 
Voir  la  verite 
Des  gens  et  du  fait 
De  1'antiquite 
[52L  5&     Puys  lempereur  Dyoclecien 

Morust  pouvrement  comme  ung  chien. 
[58],  23.     Ceulx  qui  sont  de  la  partie  dieu, 

En  toute  place  et  en  tout  lieu. 
Voulentiers  oyent  sa  parolle. 
ii 


154  Appendix  II. 

[58],  79.     Qui  de  mal  serviteur  se  sert, 

La  chevance  ou  la  vie  en  pert. 
1 06.     Plus  fier  et  plus  fel  qung  liepart. 
[65],  27.     En  despitant  pour  moins  dun  cleu. 

48.     Nous  ne  savons  quant  ne  comment 
la  mort  nous  venra  assaillir, 
car  ad  ce  ne  povons  failir 
morir  nous  fault. 

52.     Nulle  richesse  ne  nous  vault 
tant  que  servir  dieu  et  sa  mere. 

88.     Que  bon  fruit  porte  bon  geton. 

91.     Le  fruit  le  filz,  laubre  et  la  mere 
le  saint  estoc,  ce  fut  le  pere, 
et  quant  le  fruit  vient  de  bon  estre 
le  fruit  mauvais  ne  pourroit  estre 

149.  Car  tel  ne  scet  faire  maniere 
qui  a  devocion  entiere. 

153.     Car  qui  de  dieu  fait  mencion 

il  pourchace  sa  mansion. 

[67],  54.     Mes  autant  en  pourte  le  vent. 

71.     Las,  bien  vaut  myieulx  humilite 

car  elle  meyne  en  paradis. 
75.  Apres  orgueil  si  vien  envie. 
78.  Au  jourduy  ne  pas  demain 

n  y  a  nul  que  sus  son  prochain 

puisse  voir  nul  bien  vrayement. 
81.     Et  par  anvye,  tout  applein, 

tous  maulx  vignient  entierement. 
83.     Amour  est  morte  maintenant 

et  charite  sen  est  alee. 
108.     O  faulce  envie  tu  regnes  bien 

Maintenant  par  tout  le  monde. 

150.  Mes  ardent  ainsi  que  le  feu. 
152.     Car  si  largent  estoit  coules 

dung  avaricieulx  pour  la  gorge, 
il  ardroit  tousjours,  si  voules, 
com  le  charbon  fet  en  la  forge. 


Appendix  II.  155 

159.     Nul  ne  rigarde  pas  la  fin. 

164.     Nul  nempourtera  la  richesse. 

171.     Mes  de  mangier,  .chascun  fet  feste 

176.     Par  glotonie  tous  maulx  vignient. 

178.     Les  glotons  tel  vie  demennent 

que  de  nul  bien  feyre  nont  cure. 

1 80.     II  tignient,  cest  verite  pure, 
Reyson  fermee  soulx  les  pies. 

196.     Helas  et  quel  devocion 

peut  avoir  celly,  qui  se  dort 
jusque  a  mydi  son  oreyson? 

200.     Et  nest  il  pas  de  dieu  mauldit, 
celly  qui  est  tant  paresseulx, 
que  ly  non  a  aultre  desduit 
si  non  a  bien  souler  ses  yeulx? 

206.     Las,  servir  dieu  luy  vauldroit  myeulx 
que  davoir  malediction. 

225.     Tant  vaut  qui  cut  et  rien  n'entent, 
il  est  ainsi  un  mot  comming, 
Que  scil  qui  chasse  et  rien  ne  prent. 

311.     Tant  quil  sembloit  ung  urisson 
[68],  17.     Benoists  sont  ceulx  qui  percecucion 

Seuffrent  pour  bien  justice  soustenir, 
Car  a  eulx  doit  le  regne  apartenir. 

147.     Cruelx  felons  et  plus  fiers  que  lespars. 
[73],  13.     Comme  non  pareil  de  value. 

[74]  (lA),      i.     Le  Coeur  toujours  dure 
Quand  il  a  sa  cure 
Envers  Jesus-christ. 
4.     La  sainte  Ecriture, 
C'est  notre  pature. 


SOURCES    MENTIONED. 

[4],  ~"  40.     Ensuit  1'apocryphe  et  escript. 

[10],  299.     Si  retournay  a  descouvert 

Dedens  mon  habitacion 


i $6  Appendix  II. 

[10],  Du  je  trouvay  ung  livre  ouvert 

Faisant  de$  troyans  mencion. 
[19]  (lA),  203.     Poursuyvans,  sans  prolixite, 
1'euvangile,  a  nostre  S9avoir. 
[29]  (3)>       45-     Selon  la  rieulle  et  les  droittures. 

Monstrees  par  les  escriptures. 
[33]  (2)>     J35-     Que  nommes  es  livres  trouvons 

(iB),     54.     Car  cy  sont  articles  de  foy. 
[39]  (*)>         5-     Et  soyez  seurs  quel  sont  escrites 
Au  livre  de  la  grand  Sapience. 
Un  grand  Docteur  les  a  predites 
Par  sa  divine  prescience ; 
Au  livre  des  Vierges  lay  prins. 
15.     Au  mesme  livre  de  Sapience, 
Est  ecrit,  comme  jay  trouve, 
[48]  (i),       89.     Tiercement,  par  cronicque  expresse. 

(3),       20.     Es  hystoires  nous  le  trouvons, 
[56],  61.     M'en  passe  outre,  selonc  l'escrit. 

[76]  (i),         7.     Plusieurs  docteurs  de  ce  fait  ont  escript. 
17.     Egesipus,  le  docteur  autentique, 
la  descripvit  aussy  pareillement. 
(lA),    17.     En  mon  theume  laquelle  a  este  prinse 

du  bon  david  disans  ainsi  pourquoy, 
[77],  7.     Si  comme  nous  trovons  en  escript. 


APOLOGIES. 

[4],  129.     Pardonnes  nous  se  faulte  y  a, 

[10],  307.     Et  sil  est  aulcun  qui  la  voye, 

Je  luy  requiers  treshumblement, 
Sil  y  treuve  riens  qui  desvoye, 
Quil  le  supporte  doulcement, 
Et  requier  au  roy  souverain, 
Qui  lescusson  couronne  porte, 
Sil  ya  riens  escript  en  vain, 
Par  doulceur  qui  le  supporte, 
Et  aux  deux  aultres  de  sa  sorte, 


Appendix1  II.  157 

Je  supplie  aussi  ensuyvant 
Que  leur  begnignite  con  forte 
Mon  trespetit  entendement. 
Icy  finera  le  prologue 
De  mon  histoyre  proposee, 
Protestant  que  riens  ne  desrogue 
La  chose  par  droit  compasse, 
En  requerant,  dumble  pensee, 
Quon  preigne  de  bon  entendement 
Listoyre,  par  moy  composee, 
Done,  sensuit  le  commencement. 

[12],  97.     Et  se  moins  bien  est  ordonne 

Questre  ne  deust,  pardonne 
Nous  soit,  car  mieulx  le  feissons 
Se  mieulz  faire  le  sceussons. 

[I3]  (*)>       J9-     Se    commettons     faulte,    que    on    nous 
pardonne, 

[15]  (36),    52.     Car  de  joyer  perfectement 

ce  qu  il  adviendra  au  diet  temps, 
nous  seroit  du  tout  impossible. 

[19]  (lA),  113.     Se  la  reverance  de  vous 

faulte,  y  voit  dessus  ou  dessoubz 
trop  dit  ou  faulte  de  languages, 
Soiez  amiables  et  doulx 
et  nous  corrigez  sans  courroux, 
n'en  serons  auttreffois  plus  sages. 
Prenez  ce  que  bon  vous  sera 
et  le  surplus  Ten  laissera, 
car  tout  ne  poons  pas  attaindre. 
Nostre  proces  mieulx  en  vauldra 
et  plus  grant  proffit  en  sauldra 
sans  nostre  matiere  contraindre, 
Mes  pour  nostre  ignorance  estaindre 
ou  presumpcion  pourroit  maindre, 
ung  chacun  de  nous  requerra 
La  Vierge  qu'el  ne  veille  faindre 
a  nous  bien  regir  et  constraindre, 


158  Appendix  IL 

[19]  (lA),  en  disant   "Ave  Maria." 

(iB),    17.     Mes  (la  creacion  du  monde) 

est  un  mistere  en  quoi  se  fonde,. 
car  la  maniere  du  produyre 
ne  se  peust  monstrer  ne  deduire 
par  effect,  si  non  settlement 
grossement  et  figuraulment, 
et  selonc  qu'il  nous  est  possible 
en  verrez  la  chose  sensible. 

[27],  92.     Nous  protestons  en  general 

Que  tout  nostre  fait  principal. 
Sera  de  reduire  en  memoire 
La  passion  tresmeritoire 
Du  benoist  saulveur  jesucrist, 
Et  tout  ce  que  sera  escript 
En  ceste  prosequicion, 
Soubmetons  a  correction 
Et  amendement  charitable, 
Et  si  a  mains  notable, 
Apocrife  ou  contemplatif, 
Ce  nest  seulement  qun  moti, 
Non  repugnant  a  verite, 
Qui  sera  escript  et  dicte 
Pour  esmouvoir  les  simples  gens, 
Les  ignorans,  les  negligens. 

[33]  (iA),    75.     Car  nous  ne  pourrions  pas  faire 
Les  misteres  si  proprement, 
Ne  faire  si  soudainement 
Ne  peut  estre  de  nous  parfais, 
Commens  ilz  furent  alors  fais. 
117.     Et  cordialment  leur  prie, 

Que  sil  advient  quen  cest  ouvrage 
Trouvent  quelque  faulte  au  langage, 
Qui  soit  par  mon  inadvertence, 
aussi  par  faulte  de  science, 
Du  autrement  en  quelque  guise, 
La  faulte  soit  en  oubly  mise 


Appendix  II.  159 

Et  sans  plus  loing  estre  portee 
Soit  au  bons  sens  interpretee. 
Pour  ce  seigneurs,  marchans  loyaux, 
Qui  desirer  veoir  fais  nouveaux 
ne  desprisez  pas  cest  ouvrage 
Sen  lisant  en  quelque  passage 
Trouvez  aucun  mot  de  travers 
Qui  soit  incorect  ou  pervers 
Mais  vueilles  limperfection 
Selon  vostre  discrecion 
La  corriger  et  amender, 

(2),       32.     Ja  tiens  icy  pour  supposees 
et  redittes  et  repetees 
les  humbles  supplicacions 
et  bonnes  protestacions 
Que  je  fis  hier  orendroit 
Doncques  chacun  pour  son  endroit 
Dentre  nous  a  qui  ce  cas  touche 
Publiquement  et  par  ma  bouche 
Jen  requiers  plusieurs  instrumens 
Aux  notaires  icy  presens 
Cy  doncques  sera  expose 
Nostre  tesme  icy  propose. 

(3),       12.     Je  tiens  ainsi  pour  repetee 
Chascune  suplicacion 
et  bonne  protestacion 
Qui  des  le  premier  jour  fut  faicte 
Sans  plus  en  faire  de  redicte 
Et  instrument  ains  que  me  taire 
jen  requier  a  chascun  notaire 
Tant  en  Latin  comme  en  francois 

(iB),    66.     Car  cil  qui  les  rymes  en  fist 

En  1'onneur  du  doulx  Jhesucrist 

Ne  les  eust  oze  entreprendre 

S'il  n'eust  pleu  au  clercs  luy  aprendre 

Comment  il  s'en  devoit  chevir  ; 

Pour  quoy?  pour  ce  que,  sans  mentir, 


160  Appendix  II. 

33    (iB),  Ilz  sont  de  si  tres  grant  haultesse 

Que  s'il  n'y  eust  trouve  1'adresse 
Qu'ilz  luy  ont  donnee,  sans  faindre, 
Jamais  il  n'y  eust  sceu  actaindre. 
84.     Je  proteste  publiquement 

Pour  tous  joueurs  generaument 
De  cest  mistere  et  pour  chacun, 
Que,  ou  cas  qu'il  seroit  par  aucun 
Contre  la  foy  riens  dit  ou  fait, 
II  soit  repute  pour  non  fait, 
Car  nous  n'entendons  dire  ou  faire 
Riens  qui  soit  a  la  foy  contraire, 
Ne  qui  la  noble  seigneurie 
De  rien  offende  ou  injurie 
Nous  soubmectans  sans  fiction 
A  la  bonne  correction 
De  la  noble  universite 
D'Angiers,  1'ancienne  cite 
Et  pareillement,  sans  debat, 
De  monseigneur  nostre  prelat, 
Que  deffende  de  tous  maulx 
Et  de  tous  les  deables  faulx. 
Desquelles  choses  dessus  dictes 
Et  qui  sont  en  ce  livre  escriptes, 
Nous  requerons  communement 
A  tous  notaires  instrument 
Tant  de  court  laye  que  d'eglise 
Contenant  ce  que  je  devise. 

[35],  9.     Pourveu  que  ma  fragilite 

Ne  mon  sens,  dont  mult  petit  he, 
N'est  pour  telle  matere  emprendre, 
Mais  au  gre  du  Roy  qui  mande 
le  ma,  my  suis  aventure ; 
Jesus  me  garde  de  mesprendre 
Et  se  j'ay  ygnore  1'aprendre, 
Par  tel  sy  com  me  puist  reprendre, 
A  chascun  pardon  en  demande 


Appendix  II.  161 

43.     Et  son  pouvre  sens  amassa 
Comme  Dieu  lui  avoit  preste. 

[39]  (0>     I21-     Si  nous  disons  rien  contre  droit 
Et  contre  la  saincte  Escriture, 
Nous  le  revoquions  orendroit, 
Et  appelons  a  ladventure 
A  trestous  notaires  publiques, 
Tous  dun  commun  consentement, 
Imperiaux,   apostoliques, 
Nous  en  demandons  instrument. 
(2),       26.     Si  nous  faillons,  pardonnez  nous, 
Et  vueillez  nous  garder  de  blasme, 
Et  davecques  nous  estre  tous, 
Sil  y  a  faulte  de  lecture, 
Du  habit,  qui  ne  soit  honneste, 
Du  jouer  contre  lescriture, 
Nous  en  appellons  sans  moleste ; 
Et  nous  trestous  et  de  ceste  feste 
Qui  de  jouer  nous  avangons, 
Moy  pour  trestous  et  de  ma  teste, 
Acte  nous  vous  en  demandons. 

[48]  (i),       31.     Et  si  rien  y  a  vicieux, 

Supportez  1'imperfection 
133.     Priez  qu'il  n'y  ait  que  redire, 

S'en  vous  quelque  doulceur  y  a, 
(2),       38.     Prenez  aussi  en  patience 

S'il  y  a  faulte  en  notre  fait, 
Vous  sgavez  que  nul  n'est  parfait. 

[52],  64.     En  excusant  toutes  nous  faultes, 

Pour  1'onneur  du  Roy  tout  puissant. 

[54],  75.     Que  si  aucune  faulte  oyez, 

Je  vous  pry  que  le  pardonnez, 
Car  je  croy  que  chascun  fera 
Endroit  soy  du  mieulx  quil  pourra. 

[58],  6.     Prenez  en  gre  nostre  exemplaire, 

Qui  present  sera  recite 
Au  mieulx  que  nous  le  pourrons  faire. 


1 62  Appendix  II. 

[65],  142.     Mais  se  vous  nous  veez  mesprendre 

en  fait,  en  dit  ou  en  langaige, 
ou  quaucun  ne  soit  assez  saige 

de  prononcier, 

Ne  vueillez  la  faulte  anoncier, 
ne  tenir  en  derision, 
nous  de  bon  cuer  vous  en  prion, 
car  tel  ne  scet  faire  maniere 
qui  a  devocion  entiere. 

[66],  45.     Si  ouyes  rien  de  mal  diet 

Par  faulte  dentendement, 
Nous  vous  prions,  petits  et  grands, 
Que  pardonnes  nostre  ignorance. 

[68],  13,     Au  bon  plaisir  de  vous,  excellent  sire, 

Et  de  toutz  clercs,  soubz  la  correction. 
52.     Tout  soubz  vostre  correction  benigne, 
Et  de  la  Royne  aussi,  nostre  princesse, 
Et  ce  toute  la  seigneurie  digne, 
En  requerant  la  sapience  adresse 
Du  bon  recteur  de  1'universite, 
Docteurs  et  clercs,  que  noz  f  aultes  adresse. 
179.     En  protestant  ne  mesdire  ou  meffaire. 
182.     Ne  ne  voulons  dire,  faire  ou  entendre 

Quelcomque  chose  ou  nous  peussons  mes- 

prandre, 

Encontre  Dieu  ne  encontre  la  f oy, 
Nous  renongons  tout  present,  sans  deloy, 
Si  par  aucun  est  mesdit  ou  mesfait, 
Le  reputant  pour  non  dit  ou  non  fait, 
En  protestant  que  non  scientement 
Cela  seroit,  et  ignorentement, 
Sans  y  pencer  injure  ne  malice. 
En  toute  forme  et  maniere  propice 
Que  licite  est,  demandons  haultement, 
Avant  qu  outre  proceder,  instrument. 


Appendix  II.  163 

PLEAS  FOR  SILENCE. 

[4],  31.     A  tous  mye  ne  vous  ennuye, 

Et  vous  verres,  ains  qu'il  soit  nuyt, 
Par  notre  mystere,  1'office 
De  la  tres-sainte  Ascencion 
De  la  Vierge. 
[12],  5.     (Vierge)  Vueille  tous  ceulz  de  mal  gar- 

der, 

Qui  en  paix  vouldront  regarder 
[13]  (i),       ii.     Nous  vous  prions  tous  quil  vous  plaise 

taire 

Jusques  a  ce  que  acheve  nous  aurons 
(2),         8.     Si  prions,  de  pensee  incline, 

A  chascun  que  noyse  ou  desine, 
Et  paix  ayon  a  suffisance. 
[14],  59.     Et  pour  ce,  vueillez  bien  entendre, 

Car  grans  biens  y  pourrez  apprendre 
207.     Pour  dieu  plaise  vous  taire, 

Car  moult  de  biens  pourrez  apprendre 
210.     Escoutez,  faictes  silence. 
t1 5]  (3B)>       6.     Je  vous  vous  prie,  escoutez  done 
46.     Je  vous  prie,  noble  assistance 
de  nous  prester  bonne  silence 

et  ouyr  en  devotion 
55.     Chascun  vous  prie,  soit  paisible 
[17],  10.     Doulces  gens,  un  pou  escoutez, 

Pesiblement,  sans  noise  faire, 
Mains  de  paine  arez  ne  doubtez,         , 
S'il  vous  plaist  a.  I.  pou  vous  taire 
Que  se  vous  1'un,  lautre  boutez 
Ou  faictes  ennuy  et  contraire. 
Or,  vous  seez  et  acoutez 
Et  oiez  sen  que  vueil  retraire 
163.     Benoist  soit-il  qui  se  tera, 

Et  je  pry  Dieu  que  pardonner 
Vueille  a  celluy  qui  pais  faira. 


164  Appendix  II. 

[18],  i.     Benois  soit-il  quo  se  tera, 

Et  fera  paix  pour  mieulx  oyr 
Chose  dont  tout  cuer  resjoir. 

[19]  (lA),  206.     Si  vous  prions,  seigneurs  et  dames, 
cojointement,  hommes  et  fames, 
que  silence  vueillez  garder. 
(iB),       i.     Ouvrez  vos  yeulx  et  regardez, 
devotes  gens  qui  attendez 
a  oyr  chose  salutaire, 
Veillez  vous  pour  vo  salut  taire, 
par  une  amoureuse  silence, 
si  verrez,  en  briefve  sentence, 
le  fait  de  la  creation 

14.     Seigneurs,  humblement  vous  supply 
qu'ung  pen  de  silence  prestez 
et  1'entendement  apprestez. 
195.     Si  vous  prions,  tres  humblement, 
qu'avant  nostre  commencement, 
silence  vous  veilliez  prester, 
et  brief  nous  verrez  aprester 
(4)       174.     Seigneurs,  pour  Dieu,  or  1'entendez, 
quois  et  paisibles  vous  rendez, 
et  sur  briefz  motz  de  cueur  entier, 
tantost  la  nous  verrez  traittier. 

[20]  (i),         i.     Seigneurs,  si  nous  prestez  silence, 
Ce  jour  venant  demonstrerons 
Puis,  se  avons  silence  fait,  jourons 
Se  avons  aussy,  entention. 
Se  prions  que  on  ne  die  riens. 
Segneurs,  ce  jour,  se  avons  silence, 
Archelans,  rengner,  voires 
I.     Se  avons  silence  pour  ce  jour, 

vous  voires  Judas  triumpher. 
ii.     Se  volons  a  chascun  prier 
ouyr  deentente  ces  paroles. 
9.     Apres  ores  vous,  a  foisons, 
paraboles  se  de  silence 


Appendix  II.  165 

joyssance  par  vous  avons, 
par  le  vostre  begnivolence. 
(17),       i.     Segneurs,  se  nous  prester  silence, 
en  ce  jour  dhuy  vous  polres  voir. 
(18),     1 6.     Se  vous  prions  tous  de  bon  coer, 
que  checun  par  benivolence, 
nous  confere  ung  peu  de  silence, 
ii.     Pourmener;    silence  amplement 

doner  le  oeuvre  nous  est  comode. 
7.     Checun  aist  silence  done, 

nous  escoutant  devotement. 
7.     Escoutes  nous,  songueusement, 

car  le  vray  texte  on  jouera. 
i.     Segneurs,  se  nous  dones  silence, 
vous  voires,  ce  jourdhuy,  comment 
jhesus,  par  sa  seute  potence, 
(24),       i.     Segneurs,  se  nous  dones  silence, 

mainte  aparition  voires. 

[25]  (i),       58.     Noble  et  magnifique  compaignie 
Que  estes  cy  en  ceste  place, 
Prestez  silence,  je  vous  prie, 
S'il  est  de  vostre  benigne  grace. 
99.     Pour  ce,  s'il  vous  plaist,  prestez  silence, 

Car  la  matiere  le  requiert. 
(2),       44.     Or,  notable  peuple,  grans  et  menus, 

S'il  vous  plaist,  faire  silence 
1 20.     Tout  bruit  vueillez  faire  cesser, 

Car  vella  qui  va  commancer. 
(3),       60.     Soyez  de  silence  fornys, 

Pour  bien  entendre  a  brief  langaige. 
100.     Or,  je  vous  prie,  tant  qu'est  a  moy, 

Que  imposez  ung  peu  silence. 
[26],  53-     S'il  vous  plesoit.  i.  pou  entendre 

S'il  vous  plaist,  je  vous  veul  aprendre. 
[27],  83.     Et  tous  benivoles  rendus, 

A  ouyr  le  present  propos. 
[29]  (i),       16.     Si  comme  asses  tos  vos  verrez, 


1 66  Appendix  II. 

[29]  (i),  Ou  cas  que  paix  nous  presterez. 

62.     Ces  mots  icy  verrez  juer, 

Se  paix  vous  nous  voullez  prester. 
70.     Si  faictes  paix,  grans  et  petis, 

Et  d'oir,  soiez  ententis. 
(3),       47.     Vous  verrez,  se  vous  faictes  paix 

Le  grant  et  doloreux  fais. 
62.     Car  se  no  jeu  bien  entendes, 
Vous  en  verrez  entierement 
D'iceulx,  le  propre  experiment, 
Sy  entendez  bien  aux  parolles. 
(4),       63.     Comme  vous  verrez,  plainement, 
S'entendre  y  voulez  bonnement. 
[31],  25.     E  cum  la  gent  est  tute  asise, 

E  la  pes  de  tutez  parz  mise, 
[32],  i.     Tres  doulces  gens,  or  entendez 

Et  diligaument  regardez, 
Noble  chose  verrez  retraire. 
88.     Or,  faites  paix  et  veoir  pourrez, 
102.     Mais  gardez  comment  quil  en  voyse 
Que  vous  ne  facez  point  de  noise, 
Car  noise  peut  estre,  on  le  scait, 
Cause  de  mal  et  vous  seroit, 
En  la  fin,  le  cas  dangereux. 
Et  se,  daventure,  en  noz  jeux, 
Quelqun  sennuye  ou  travaille, 
Je  luy  conseille  quil  sen  aille 
Et  laisse  les  aultres  en  pais. 
238.     Pource,  faictes  paix  et  silence. 
(2),     221.     Et  pense  chascun  de  soy  taire. 
(3),       52.     Nous  vous  prions,  de  par  celui 

dont  nous  parlons  principaument, 
que  vous  ouvrez  lentendement 
Et  la  maniere  pour  ouyr  . 

devotement,  et  retenir. 

(iB),    38.     Mais  gardez  vous  comme  qu'il  voise, 
Que  vous  ne  facez  point  de  noise, 


Appendix  II.  167 

Car  noise  peult  estre  en  feroit 
Perdre  le  fruit,  qui  vous  seroit. 
[35],  18.     Or,  vueillez  la  matere  entendre 

50.     Plaise  nous  prester  audience 
222.     Comme  droit  ci  veoir  la  pourrez, 

Si  nous  povons  silence  avoir 
[36],  3.     Vous  prions  qu'en  bonne  unite, 

Veuillez  trestous  fere  silence 
Et  vous  verres  cy  en  presence. 
13.     Or,  luy  vueilliez  done,  audience 
Trestous  prester,  par  bon  moyen, 
Et  escouter  en  reverance. 
21.     Sy  vous  prions,  par  alienee, 

Qu'en  ce  lieu  nous  fasiez  ce  bien 
De  vouloir  oyr  par  plaisance. 
25.     Prince,  garde  de  toute  oultrance, 

Ceulx  et  celles  qu'  entendront  bien. 
29.     Or,  faictes  paix,  trestous  communement, 

Et  escoutes  le  present  preschment. 
34.     Et  il  vous  plaist  nous  prester  auditoire, 

Du  saint  martir  jouer  toute  1'istoire. 
[39]  (*)>         x-     Nobles  seigneurs,  vueillez  entendre 

Les  parolles  que  jay  cy  dittes. 
1 19.     Je  vous  supplye,  faictes  silence, 

Grans  et  petis,  vueillez  vous  taire. 
131.     Or,  entendez  bien  nostre  jeu. 
(2),         5.     Seigneurs  et  dames,  je  vous  prie, 

Seez  vous  trestous  a  vostre  aise 
[40]  (2),       23.     Entende  bien  la  saincte  vie 

Et  faictes  pays,  je  le  vous  prie. 
[48]  (i),       29.     Si  veulliez  estre  curieux 
D'ouyr  en  paix  et  union. 
71.     Mais  qu'en  paix  et  transquilite, 

II  vous  plaise  faire  silence. 

(2),       35.     Pourtant,  Seigneurs,  je  vous  conseille 
Que  nous  veullez  prester  1'oreille 
En  paix,  en  doulceur,  en  silence 


1 68  Appendix  II. 

[48]  (3),       39.     Mais  que  chacun  soit  modere 

Et  content  de  faire  silence. 

[52],  i.     Or,  faittes  pais  vous  aultres,  tous, 

Que  pais,  joye,  lyesse  et  bon  jours, 
Soit  donne  a  trestous  vous. 
7.     Je  vous  supplie  de  presant 

Qu'il  vous  plaise  de  nous  entendre 
12.     Escoutes  tous,  par  devocion. 
[54],  10.     Or,  y  entendez,  comme  saiges. 

71.     Je  vous  suply  tous  humblement, 
Que  vous  teniez  tout  coyement 
Chascun  endroit  soy  en  sa  place 
79.     Et  nous  faictes  paix  et  silence 
[55]  (iB),       i.     Seigneurs,  de  moult  grant  efficace, 

Donnez  nous  paix  sans  plus  actendre, 
Et  que  chascun  preigne  sa  place 
Au  mieulx  quil  pourra,  sans  mesprandre, 
Puis  mectez  payne  de  comprendre, 
De  sainct  Martin,  le  beau  mistere, 
Et  de  voir,  oyr  et  entendre. 
(26),       3.     Au  nom  du  treshault  roy  de  gloire, 

Donnez  nous,  sil  vous  plaist,  scillence, 
Et  doyr  ayez  pascience. 

(3 A),       i.     Messieurs,  sil  vous  vient  aplaisir, 
Tout  bruyt  sera  present  cesse, 
Affin  dachever  par  loisir 

(36),       i.     Seigneurs  et  dames,  prenez  place-, 
Et  chascun  pence  a  son  affaire, 
Sans  que  personne  se  desplace, 
Pour  mieux  le  mistere  parfaire. 
[56],  i.     Oiies,  oiies,  seigneur  et  dames, 

Que  Diex  vous  soit  garans  as  ames ! 
114.     Or,  nous  faites  pais,  si  Torres. 
[58],  i.     En  nom  du  pere  et  du  filz 

Du  sainct  esperit  en  unite, 
Entendez  tous,  grans  et  petis, 
Ung  faict  de  hault  auctorite, 


Appendix  II.  169 

En  paix  et  grant  transquilite, 
Prenez  en  gre  nostre  exemplaire 
22.     Entendez  bien  ce  que  jay  dit 
Ceulx  qui  sont  de  la  partie  dieu 
En  toute  place  et  en  tout  lieu. 
Voulentiers  oyent  sa  parolle. 
53.     Benoist  soit  il  qui  paix  fera 

Et  qui  du  cueur  escoutera. 
I53-     Je  vous  requier  a  tous,  et  pry 
Que  ne  faciez  noyse  ne  cry, 
Mais  bonne  paix  nous  vueillez  f aire ; 
Chascun  na  que  sa  langue  a  taire. 
161.     Je  vous  requier  a  tous  silence 
163.     Et  entende  chascun  a  soy. 
[59]  (2)>         i-     Seigneurs  et  damez,  donnez-nous 
Silence,  nous  vous  suplions; 
Voyes  1'esbat,  asseez-vous 
Affin  que  nous  nous  ralions. 
[65],  141.     Et  que  chascun  la  veuille  entendre 

151.     "Venite"    et  faittes  silence. 
[66],  42.     A  tant,  vous  prie  fere  silence. 

[67],  219.     Si  lescoutes,  je  vous  en  prie. 

368.     Pourtant  vous  prie  que  fasses 
votre  devoir  a  escouter. 
[68],  200.     Ou   nom    de   Dieu,    faictes   doncq   toutz 

silence. 
[72],  in.     De    cueur    vous    pry,    que    mettes    en 

memoyre, 

Tout  la  mistere,  sans  proferer  langaiges. 
[73],  i.     Tres-doulces  gens,  or  entendez 

Et  dilgaument  regardez, 
Noble  chose  voirrez  retraire 
21.     Diex  ly  doint  bien  qui  se  tera 
Et  en  paix  jouer  nous  lera ! 
Or,  vous  prie  trestous  ensamble, 
Que  regardez,  ce  bon  vous  samble, 
Retraire  verrez  noble  chose. 
12 


170  Appendix  II. 

[74]  (lA),    ii.     Ne  mener  nul  bruit 
Ains  prenez  deduit, 
En  paix  vous  tenez ; 
Si  vous  murmurez, 
Soyez  asseurez 
Que  nous  en  irons 
Icy  vous  lairons. 
Pour  ce,  vous  prions, 
Tant  que  nous  pouvons, 
O  noble  assistance, 
Faites  nous  silence. 
(iB),      i.     Chrestiens  qui  desirez  1'amour 

De  Jesus-Christ,  notez  nos  diets. 
4.     Pour  ce  que  vos  coeurs  sont  reduits, 

Nous  ecouter  pour  cette  fois. 

[76]  (i),       75.     Mais  plaise  a  vous  les  joueurs  escouter. 
(2B),  121.     A  ceste  heure  verrez  jouer, 

sil  vous  plaist  tous  a  escouter, 
129.     Si  vous  voulez  avoir  pascience 

et  faire  ung  petit  de  scillence. 
(3),       24.     Mettez  y  vostre  entendement, 
en  escoutant  paisiblement, 
on  vous  en  prie,  en  charite. 
1 1 8.     Pourtant  nous  prion  lassistence, 
que  entretant  que  nous  joueron, 
nous  veullent  donner  audience. 

[77],  i.     Je  vous  commande,  de  par  le  Roy, 

De  par  Pilate,  le  prevoust, 
Que  vous  ne  dictes  un  sceul  moust 
Et  si  nostre  feste  moleste 
25.     Si  nos  voles  bien  entendre, 
Vous  poves  ouyr  et  aprendre 
De  Jhesus-Christ,  la  passion. 


Appendix  II.  171 

STAGE-SETTING  AND     "PERSONNAGES." 

[4-L  67.     Or,  afin  que  mieuls  entendez 

Ce  tel  mistere  qu'atendez, 
Vous  voulons  donner  a  entendre 
Ce  que  lieux  et  personnaiges 
Que  voiez  cy  en  ces  estaiges 
Represent,  sans  plus  attendre. 
Vees  la,  Dieu  en  son  paradis, 
Dont  Lucifer  partit  jadis, 
Qui  la  tient  en  enfer  sa  place. 
Avecques  Dieu  est  Gabriel, 
Larchangiel  Michel-Raphael, 
Et  tous  les  angiels  face  a  face. 
Ceulx  feront  honneur  et  homaige 
A  la  virge,  de  qui  1'ymaige 
Vees  sy,  de  la  saincte  Marie, 
En  prenant  la  possession 
De  1'eternelle  mancion 
Dont  elle  aura  la  seigneurie. 
Trois  virges  sont  avecques  elle, 
Et  Joseph  qui  bien  sapareille, 
A  tost  le  monde  trespasser, 
Car  sa  viellesse  luy  encline, 
Ainsi  fault  que  chascun  deffine; 
Par  la  nous  convient  tous  passer. 
Et  veez  cy,  saint  Jehan,  le  vierge, 
Qui  garda  la  tres  saincte  Vierge, 
Et  est  en  palme  pour  prescher. 
Veez  cy  saint  Pierre,  saint  Andrieu, 
Saint  Jacques,  saint  Berthelemieu, 
Luchas,  Mathee,  tous  d'un  mestier, 
Barnabe,  Mathieu  et  Symon, 
Qui  de  Dieu  prescherent  le  nom 
En  maints  divers  lieux  en  la  terre, 
Ceuls  vindrent  au  trespassement, 
Par  miracle  hastivement 


172  Appendix  II. 

[4],  De  la  vierge,  qu'on  doit  requerre; 

For  saint  Thomas  qui  fut  en  Jude, 
Que  veez  la  en  chazuble  ynde, 
Qui  n'y  fus  pas,  pour  la  rayson 
Qu'  apres  vous  verres  clerement 
Par  raisonnable  enseignement, 
Quant  en  sera  lieu  et  saison. 
Or,  veez  le  prince  de  la  loy, 
Qui  se  mist  en  moult  grant  desroy 
Pour  bruler  et  ardoir  en  cendre, 
Comment  verrez  en  sa  maniere, 
Le  saint  corps  qui  gisait  en  biere, 
De  la  tres  doulce  vierge  tendre. 
Et  veez  la,  ses  sergens  armes, 
Qui  ne  sont  mie  trop  ames, 
Pres  de  mal  faire  en  toute  place. 
Touteffois  ils  recongnaistront 
Les  foulies  quils  demonstront, 
Dont  acquieront  perdon  et  grace, 
Veez  cy,  aveugles,  contreffais, 
Maledes  et  meseaulz,  deffais, 
Esquels  verrez  faire  miracle, 
Par  les  merites  notre  dame, 
Qu'on  doit  servir  de  corps  et  d'ame; 
Aussy  en  ce  demoniaque. 

[QA],  146.     Le  lieu  povez  reguarder 

167.     Le  lieu  poures  cy  adviser 
176.     Par  Abraam,  que  la,  veez, 

Et  par  Ysaac,  que  veez,  delez. 

[13]  (i),       14.     Present     des     lieux,     vous     le     povez 

congnoistre 
Par  lescritel  que  dessus  voyez  estre. 

[31],  I.     En  ceste  manere  recitom 

Le  seinte  resurreccion. 
Primerement  apareillons 
Tus  les  lius  e  les  mansions : 
Le  crucifix  primerement, 


Appendix  II.  173 

Et  puis  apres  le  monument. 
Une  jaiole  i  deit  aver 
Pur  les  prisons  enprisoner. 
Enfer  seit  mis  de  cele  part, 
Es  mansions  de  1'altre  part, 
E  puis  le  ciel,  e  as  estals, 
Primes  Pilate  od  ces  vassals, 
Sis  u  set  chivaliers  aura. 
Cayphas  en  1'altre  serra, 
Od  lui  seit  la  juerie, 
Puis  Joseph  d'Arimachie. 
El  quart  lui  seit  danz  Nichodemus, 
Chescons  i  ad  od  sei  les  soens. 
El  quint  les  deciples  Crist. 
Les  treis  Maries  saient  el  sist. 
Si  seit  purveu  que  Tom  face 
Galilee  en  mi  la  place ; 
Jemaiis  uncore  i  seit  fait, 
U  Jhesus-Crist  fut  al  hostel  trait. 
[39]  (*)>       45-     Monstrer  vous  vueil  tous  les  estages 
Et  lordonnance  de  nostre  jeu 
Selon  lestat  des  personnages, 
Lesquelz  ont  prins  chacun  son  lieu. 
Premier,  voila  Dieu  et  ses  Anges, 
Cest  eschafaut  cest  paradis, 
Environne  des  sainctz  Arcanges 
Que  Dieu  a  forme  des  jadis. 

Et  apres,  voicy  lempereur, 
Qui  est  appele  Marcien, 
Persecutant  par  son  erreur 
Tout  le  povre  peuple  chrestien. 

Voila  ses  gens  et  son  bernage, 
Qui  a  tout  mal  lassisteront, 
Et  en  la  fin  mourra  de  rage 
Et  les  diables  lemporteront. 

Par  Dioscore,  mauvais  Roy, 
Cruel  en  cueur  et  en  pensee, 


174  Appendix  II. 

[39]  (*)»  Barbe  sera  mise  en  arroy 

Et  par  chevaliers  tourmentee. 
Si  Barbe  fuit  leur  compagnie, 
Penser  pouvez  quel  na  pas  tort, 
Car  par  leur  grande  felonnie, 
Et  par  eux  elle  prendra  mort. 

A  fin  que  de  tout  me  femembre 
Voicy  Barbe,  belle  et  courtoyse, 
Qui  est  cy  bas  en  ceste  chambre, 
Et  a  le  cueur  moult  a  malaise. 

Voila  quatre  mauvais  tirans 
Qui  sont  bourreaux  de  Marcien, 
Par  tous  moyens  sont  desirans 
De  destruire  le  nom  chrestien. 
Voyez  icy  le  messager 
De  Marcien  Lempereur, 
Jeune,  joly,  f risque,  leger, 
Vous  verrez  quil  est  bon  coureur. 

Voicy  le  messager  du  Roy, 
Qui  est  pere  de  la  pucelle, 
Gentil,  gallant,  en  bel  arroy 
Qui  portera  mainte  nouvelle. 

Voicy  la  chartre  de  Lempereur 
Et  le  Geolier  qui  la  garde, 
On  ny  voit  clarte  ne  lueur 
Au  parfond,  quant  on  y  regarde. 

Icy  endroit  de  cest  estage 
Est  le  prevost  de  lempereur, 
Fort  cruel,  et  tout  plein  doutrage, 
De  la  foy  grand  persecuteur. 

Voila  un  tas  de  pauvres  gens, 
Que  la  vierge  ennuict  secourra, 
Je  croy  quilz  nont  gueres  dargent  ; 
Benoist  soit  qui  leur  en  donra. 

A  ce  gibet  sera  pendue 
Par  les  piedz  centre  val  la  teste, 
Tant  quelle  pendra  sera  battue 


Appendix  II.  175 

Plus  durement  quonc  ne  fut  beste. 

Marcien  centre  elle  se  fume, 
Et  centre  elle  veut  batailler, 
On  luy  mettra  sur  une  enclume. 
La  teste,  pour  la  chamailler. 
En  ceste  chambre  sera  mise, 
A  celle  fin  quon  ne  la  voye, 
Toute  nue  et  sans  chemise, 
Avec  la  femme  de  joye. 

Voyez  enfer  le  puant  goufre, 
Du  maint  homme  est  a  martire, 
Qui  est  punaiz  plus  que  nest  souffre, 
Ceux  dedans  ne  scavroient  rire. 

Tout  nostre  faict  je  vous  recite, 
Or  ca  jai  tout  bien  public, 
II  ny  a  plus  que  cest  hermite 
Que  javois  quasi  oublie. 
Vous  avez  veu  nostre  ordonnance 
De  tout  le  jeu  et  le  mistere. 
[48]  (i),     113.     (Icy  se  meet  chascun  en  ordre  pour  faire 

monstre) 

Mais  afin  que  facilment 
Vous  cognoissiez  nostre  entreprinse, 
C'est  raison  que  premierement, 
Je  vous  en  monstre  la  devise. 
Vees  la  Lengres,  en  hault  assise, 
Plus  noble  que  tous  aultres  lieux ; 
Vees  la,  les  seigneurs  de  1'Eglise 
Et  les  borgeoys,  jeunes  et  vieulx; 
Vees  la,  Didier  au  labourage, 
Qui  tient  la  cherrue  a  deux  mains : 
Vees  la,  ung  haultain  personnage, 
Nomme  1'empereur  des  Remains, 
Croscus  et  le  Roy  des  Alains 
Ont  illec  leurs  gens  amassez. 
Je  n'en  diray  ne  plus  ne  mains, 
Le  demeurant  se  monstre  assez. 


1 76  Appendix  II. 

[54],  ii.     Les  personnages  veulx  demonstrer 

Comment  vous  les  verrez  jouer: 
Premier,  voilla  en  hault  assis, 
Jesuchrist  en  son  paradis, 
Et  la  doulce  vierge  Marie, 
Les  anges  en  sa  compaignie. 
Sainct  Pierre  et  saincte  Cecille, 
Saincte  Agnes,  qui  est  bien  habille ; 
Et  voicy  le  roy  de  hongrie, 
Chevaliers  en  sa  compaignie, 
Son  filz  martin  est  pres  de  luy 
Et  le  prince  de  la  joste  luy. 
Cestuy  qui  est  en  cest  arroy, 
Si  est  le  messagier  du  roy. 
Voyez  cy  prestre  en  leur  chappelle, 
Qui  leur  semble  bonne  et  belle, 
Jcy  est  la  maison  du  prince 
Qui  est  seigneur  de  la  province, 
Ses  chevaliers  sont  la  dedans 
Et  grant  partie  de  ses  gens. 
Sa  est  le  conte  de  millan, 
Sa  femme  o  luy,  sans  ahan, 
La  soeur  sainct  martin  la  contesse, 
Et  voyez  son  filz,  de  grant  noblesse, 
Leurs  chevaliers  et  leurs  heraulx, 
Et  voyez  en  cest  eschauffaulx 
Le  capitaine  dudit  conte. 
Ses  chevaliers  sont  bien  du  compte. 
Voyez  Ihermite  en  ce  boys  la, 
Qui  sainct  martin  batisera, 
Et  voicy  le  pauvre  nud, 
Qui  par  martin  sera  revestu. 
Voicy  marmoustier  et  labbe 
Et  son  secretain  en  arroy, 
Voicy  Ihomme  qui  se  pendra 
Et  sa  femme  quil  occira. 
Voicy  ceulx  qui  seront  dacord, 


Appendix  II.  177 

Dequoy  lun  deulx  fera  le  mort. 
Voicy  Tours  en  cest  estre  icy, 
Larchevesque  y  est  aussi, 
Larchediacre,  sans  faillir, 
Est  avec  luy  pour  le  servir. 
Cy  est  le  taillandier,  sa  fille 
Et  sa  femme,  sans  nulle  guise, 
Et  aussi  voicy  par  deca, 
Cil  qui  le  vestement  aura. 
Qui  luy  sera  par  trop  petit ; 
Cestuy  qui  a  cest  autre  habit, 
Est  un  mesel  trestout  pourry, 
Qui  de  martin  sera  guary. 
Le  pape  est  la  en  ceste  estre, 
Qui  est  de  leglise  le  maistre, 
Son  messager  est  devant  luy 
Qui  fait  les  messages  pour  luy. 
Icy  aussi  est  sainct  Ambroyse 
Et  son  cler  vous  povez  veoir. 
Voicy  le  clop  et  laveugle, 
Guaris  seront,  vueillent  ou  non  vueillent, 
Diables  sont  en  enfer  la  bas, 
Lucifer  et  les  sathanas. 

[58],  61.     Monstrer  vous  vueil  les  personnages, 

Les  joueurs,  aussi  les  estages, 
Affin  que  vous  puisses  entendre 
Ce  que  nous  vous  voulons  aprendre. 

Cest  habitacle  cy,  presente 
Paradis  si  nous  represente, 
La  est  celuy  qui  est  dit  dieu 
Cest  raison  quil  y  ait  beau  lieu ; 
Les  anges  sont  autour  de  luy, 
Qui  le  servent  sans  nul  ennuy. 

Philippe,  lempereur  rommain, 
Qui  tout  homme  tient  soubz  sa  main, 
Est  en  ce  hault  palays  assis, 
Empres  luy  philippe,  son  filz ; 


178  Appendix  II. 

[58],  Aupres  duelx,  son  les  chevaliers, 

Qui  moult  sont  orgueilleux  et  fiers, 
Ilz  tiennent  la  loy  des  payens, 
Mais  lempereur  est  crestien ; 
Qui  de  mal  serviteur  se  sert, 
La  chevance  ou  la  vie  en  pert ; 
Comme  fist  iceluy  seigneur, 
Qui  de  romme  estoit  empereur, 
Par  les  trahistres  dont  se  servit 
La  vie  et  Ihonneur  en  perdit. 

La,  est  passevent,  leur  herault, 
Qui  tantost  aura  fait  ung  fault, 
Veez  la,  de  gaulle  ung  grant  roy, 
Parmy  ces  gens  en  bel  arroy, 
Et  devant  luy  son  messager, 
Fleurentin  qui  moult  est  leger, 
Et  deca,  est  le  deffenseur 
De  reims,  en  grant  bruit  et  honneur, 
Aupres  de  luy,  ses  escuyers, 
Qui  sont  tresvaillans  souldoyers. 
Apres  voyez  le  demaine 
De  la  grant  contree  despaigne, 
Du  est  servant  le  noble  prince, 
Sa  femme  et  toute  sa  province, 
Lequel  de  sainct  laurens  fut  pere. 
Aupres  deulx  le  filz  de  son  frere, 
Lequel  fut  sainct  vincent  nomme, 
Entre  les  sainctz  bien  renomme. 
Devant  eulx  est  leur  poursuivant, 
Legeret,  qui  moult  est  scavant; 
Decius  est  en  ceste  part, 
Plus  fier  et  plus  fel  qung  liepart. 
Avecques  luy  sa  chevalerie, 
Tous  payens  et  de  malle  vie 
Par  luy  mourra  a  grant  douleur 
Philippe,  son  loyal  seigneur, 
Et  aussi  philippe  son  filz. 


Appendix  II.  179 

Et  en  ce  lieu  si  sont  assis 
Quatre  maulvais  garcons  tirans, 
De  tout  mal  faire  desirans, 
Fieramort  et  bruslecoste, 
Qui  vont  plus  tost  que  la  poste, 
Maulevault  et  malengrongne, 
A  tout  mal  faire  embesongne. 
En  ce  lieu  demeure  et  habite 
Le  tressage  prevost,  ypolite, 
Qui  a  la  garde  des  prisons 
De  ceulx  qui  ont  faict  mesprisons. 
Avecques  luy  sa  femme  et  famille, 
En  belle  ordonnance  et  gentille. 
Vous  povez  veoir  en  ce  repaire 
Sixte  de  romme,  le  sainct  pere, 
Avecques  luy  son  chapelain, 
Justinus,  homme,  dhonneur  plain, 
Orban  aussi,  le  secrettaire, 
Qui  est  homme  de  bon  affaire ; 
La  bonne  veufve  est  en  cest  estre, 
Qui  pour  lamour  du  roy  celestre, 
Loge  les  povres  mandiens 
Que  vous  voyez  illec  gisans. 
Veez  lorfevre  en  ce  bas  lieu, 
Lequel  maintient  la  loy  de  dieu, 
Qui  par  amour  et  vraye  Concorde, 
Revela  le  corps  de  concorde 
Que  les  felons  tirans  mauldis, 
Avoient  gette  dedans  ung  puys. 
En  ceste  partie  est  enfer, 
Du  sont  sathan  et  lucifer, 
Belial  et  belzebuthz, 
Qui  aux  pecheurs  font  maintz  abus, 
Et  astaroth  aussi  bien, 
Qui  jamais  ne  pense  nul  bien 
[68],  124.     Et  a  la  fin  de  mieulx  vous  adviser, 

Present  vous  vueil  monstrer  et  deviser 


i8o  Appendix  II. 

[68],  Les    liuex    et    noms    de    chascun    per- 

sonnaige, 

Convenables  le  plus  a  nostre  ouvraige. 
Premier,  voiez  la  endroit  paradis, 
Dieu,  ses  angelz  et  ses  sains,  vraiz  amis ; 
La  est  lorrible  ort  et  puant  enffer 
Et  le  pervers  inique  Lucifer, 
Acompaigne  de  dampnez  et  de  deables, 
plains  de  tourmens,  huz  et  criz  miserables. 
De  celle  part  est  Diocletien 
Et  assez  de  ly,  Maximien, 
Empereurs  sont  et  princes,  des  Remains, 
Cruelx  felons  et  tirans  inhumains, 
Chascun  deulx  a  ses  gens  et  familiers, 
Avecques  luy  la,  sont  leurs  conseilliers, 
Les  senateurs  de  Romme,  sans  frivolle, 
Peut  on  bien  veoirs  dedans  le  Capitole. 
La  est  le  fier  et  felon  Dacian, 
Faulx  destructeur  de  peuple  Christien, 
Avecques  luy  ses  gens  et  sa  famille 
Comme  sa  femme  et  son  filz  et  sa  fille. 
La,  en  ce  boys  habitent  ses  soudars, 
Cruelx  felons  et  plus  fiers  que  lespars, 
Qui  ne  servent  sinon  de  tout  mal  f  aire ; 
Desir  nont  fors  de  Christiens  deffaire. 
Or  regarder  Valence,  la  cite, 
Dont  je  vous  ay  cy  dessus  recite ; 
Les  deux  portiers  davant  la  porte  sont 
Et  ses  seigneurs  qui  demourance  y  font 
Sont  principaulx  conseilliers  de  la  ville. 
Valerien,  le  bon  evesque  utille, 
De  ce  dit  lieu,  avecques  luy  Vincent, 
Son  diacre,  povez  veoirs  la  present. 
La  aussi,  est  le  temple  des  ydolles 
Et   les    prestres,    toutz    ranpliz    derreurs 

folks. 
Le  chartrier,  sa  femme  et  son  varlet 


Appendix  II.  181 

Sont  en  la  chartre  ou  il  fait  ort  et  let. 
En  ce  vesseau,  voy  la  deux  marniers, 
Les  quelx  auront  grant  plante  de  deniers 
Pour  mectre  au  fons  de  la  mer  le  corps 

mort 
De  sainct  Vincent,  qui  plus  tost  quelx 

au  bort 

arivera  certes  quilz  ne  f eront ; 
Ses  pouvres  gens  la  lensepveliront, 
Par  lordonnance  a  sa  bonne  matrosne, 
A  qui  Jhesus  envoya  de  son  trosne, 
En  son  dormant,  divine  advision, 
Pour  y  donner  sainc  provision ; 
Et  cela  fait  la  fin  de  nostre  jeu. 
Nous  esperons  avoir,,  sil  plaist  a  Dieu, 
Et  sil  y  a  quelque  autre  personnaige. 
Ou  mistere  cy  presens  davantaige, 
De  les  nommer,  men  passe  en  verite, 
Car  ilz  ne  sont  pas  de  necessite. 


1 82  Appendix  II. 

PROVENCAL  PROLOGUES. 

PRAYERS    AND    INVOCATIONS. 

[80]  (A),        I.     Jhesus-Christ,  filh  de  Mario, 
Que  tot  lo  mont  regis  et  genio, 
Vuelho  gardar  denconvenient 
Tot  lo  poble  eycy  existent. 
(B),         i.     Jhesus-Christ,  filh  de  Mario, 
Que  tot  lo  mont  regis  et  genio 
Vuelho  gardar  la  compagnie 
De  tot  mal  et  vilhanio. 

[81]  (B),         i.     Yo  requiero  humblament 
A  Jhesu  Crist  omnipotent, 
Y  a  1'auto  virge  Mario, 
Salver  la  nobla  compagnio 
22.     (lo  Dalphim)  Plaso  a  Diou,  per  sa  marci, 
Que  li  done  longe  vio, 

Et  li  mantegno  sa  segnorio. 
162.     Plase  a  Dio,  per  sa  clemencio, 
Que  vos  i  done  tal  devocion 
Que  pencha  venir  a  salvacion ! 

[83],  i.     Jhesu  Christ,  que  de  la  Verge  eys  nas, 

Done  bon  jort  e  bon  solas, 
E  garde  la  compagnio 
De  tot  mal  e  de  vilanio 
E  nos  vuelho  illuminar 
E  de  sa  gracio  arosar; 
E  nos  done  cognoysenso 
De  tot  pecha  et  de  toto  offense. 

[84]  (A),      24.     Volent  a  Dieu  pregar  que 
Nos  done  las  obras  far 
Que  en  paradis  pussant  intrar. 
34.     Dieu  garde  de  mal  la  companio 
73.     Pas  et  consolatium, 

Vulha  donar  nostre  senhor 
Aquesto  conpanhio  bello, 


Appendix  II.  183 

Et  la  vuelha,  per  sa  cortissio, 
De  tot  mal  gardar. 
Dieus  que  nasque 
De  humana  natura 
E  duna  berges  neta  pura, 
Nos  don  far  tal  portamen 
Que  vengan  tos  a  salvamen. 
[85]  (lA),      i.     Jhesus,  lo  rey  omnipotent, 

Lo  cal  ha  fach  lo  firmament, 
E  a  crea  lo  eel  e  la  terro, 
Nos  mande  pas  de  eel  en  terro 
E  garde  toto  ceto  gent 
De  mal  e  de  encombrament ; 
Et  noz  vuelho  tos,  ensegnar, 
Et  de  sa  gracio  illuminar, 
Per  lo  merite  de  sa  passion ; 
Et  houci  per  lo  interssession 
De  sanct  Peyre  et  de  sanct  Paul. 
29.     Diou,  per  sa  hinfin[i]o  bonta, 
Noz  mantegno  emprosperita 
Et  garde  lo  frut  de  la  terro 
Et  noz  vuelho  gardar  de  guerro 
De  famine  et  pestillensio 
Per  honor  et  reverensio 
De  sanct  Peyre,  amic  de  Diou 
Et  de  sanct  Paul,  compagnon  siou. 
(B),        i.     O  Diou  per  fait,  regnant  en  Trinita, 
Al  qual  es  subjecto  humanita, 
Veuhes  tant  de  bello  gent  gardar 
Del  mal  haver,  et  de  nescessita ; 
Qu'en  ton  honor  eyssi  s'es  incita 
Per  aquesto  Istorio  regardar. 
Plasso-te  de  los  contragardar 
O  bonta;    de  mal  los  preservar, 
Tu  qui  sios  de  tout  ben  la  vio, 
Affin  que  mieys  poisson  contemplar 
Lour  salut,  per  lo  mal  retardar 


184  Appendix  II. 

[85]  (B),  Qui  en  aquest  monde  plusors  desvio. 

O  eternalo  et  infinio 
Bonta,  que  jamays  sare  finio, 
O  poyssance,  que  onques  n'a  fin, 
Te ;  preouc,  per  tu  sio  definio, 
Devant  tant  bello  compagnio, 
L'Istorio  jusques  a  la  parfin. 

(2),         5.     Masque  Diou  garde  de  desvari, 
Que  y  ferme  vostro  intencion, 
Garde-nous,  Diou,  de  temps  contrari, 
Per  lo  merit  de  sa  passion ! 
15.     Diou  nous  don  veyre  et  escoutar, 

Per  lo  merit  de  sa  passion ! 
31.     Jesus  nous  duyo  a  bon  port, 
Per  lo  merite  de  sa  passion ! 
41.     Prince,  eternal  et  inviseble, 
Que  sus  au  eel  fas  ta  mansion, 
Fay  nous  eysso  intelligible, 
Per  lo  merite  de  ta  passion! 
[86]  (iA),      i.     Jhesus,  lo  rey,  filh  de  Mario, 
Local  eys  Diou  onipotent, 
Garde  la  noblo  compagnio 
Qu'eys  asembla  eyci,  de  present, 
Et  nos  vuelho  tos  ensegnar. 
Per  la  sio  sancto  doussor, 
Et  de  sa  gracio  illuminar, 
Donar  nos  sa  pax  et  s'amor. 

(iB),     25.     Prince,  punent  prevaricours, 
Et  qui  bons  voiles  premiar, 
Gardo-nos  de  dangiers  et  pours ; 
Eyssint  poyren  principiar. 

(2),       25.     Prince,  vueilhos  administrar 
Lo  dom  de  pax  en  cesto  plasso, 
Affin  que  poyssan  remonstrar 
Chauso  qu'a  ta  bonta  sy  plasso. 


Appendix  II.  185 

REFERENCES  TO   HEAVENLY  AID. 

[80]  (A),        5.     La  compagnio,  eicy  assembla, 
Ha  entrepreys  et  prepousa, 
Al  num  de  Dieu  prumieroment, 
Et  de  sa  mayre  tres  excellent, 
De  joar  la  remembranso  et  passion. 
(B),         5.     La  compagnio,  eyci  assembla, 
An  entrepreys,  et  prepousa, 
Al  nom  de  Diou  primieroment, 
De  juar  eyci  presentoment 
La  rememoransso  dessus  dicho. 

[81]  (B),    1 60.     Car,  si  play  a  Dio  omnipotent. 

[84]  (A),      22.     E  si  Dieu  nos  dona  victoria 
Dimenge  jugaren  lestoria. 

[86]  (iA),    17.     Si  play  a  1'haulto  magesta 

37.  Or,  prean  Jhesus  devotoment 
Et  sanct  Pons  ouci  debonayre 
Que  nos  don  joar  seguroment. 


THE  FARCE  IN  PROLOGUE    [8l]    (B). 

Lines  31-74.     Me  segnors,  ya  vous  direy,  per  ma  fe, 
Yo  ay  achaba  grant  sen 
Ne  vous  en  done  mervilho 

(Ar  non  sia  pas  sbay  \ 

Si  a  volo  tastar  de  mon  vin/ 
Mestre  Plimet,  ave  la  botilho  ? 
Car  ya  volo  veyre  si  a  ren. 

Secundus  Nuncius. 
Nostre  mestre,  lo  me  play  ben 
E  mays  es  tre  ben  rasos. 
Ar  tene,  despacha-vous 
E  beve  alegrament. 
Yo  vous  dich,  per  mon  sagrament, 
13 


1 86  Appendix  II. 


Que  ve-vous  eyci  de  bon  vin, 

Ar  fia-vous  en  de  mi, 

Que  yo  lo  vous  ay  tengu  net. 

Primus  Nuncius. 

Cosi  1'entende-vous,  mestre  Plimet, 
Vos  ave  begu  mon  vin, 
E  peus  vous  y  trufa  de  mi? 
La !  no  vos  gardare  vostre  chapel, 
Que  no  vos  done  tal  su  al  musel 
Que  vos  tonbe  dal  quatre  pres. 

Secundus  Nuncius. 
Mestre,  non  sia  tant  divers, 
Leysa  vivre  los  compagnos, 
Car  la  venre  temps  et  sasos 
Que  vos  en  veyre  de  plus  fort. 

Primus  Nuncius. 

Tu  as  grant  drech  e  y'ay  grant  tort. 
Ar  regarda,  nobla  gent, 
Mestre  Plimet  est  tant  suficient 
Que  el  vol  governar  to  lo  mond 
Dont  ly  part  ya,  no  say  dont, 
Mas  la  mi  convento  quesar. 

Secundus  Nuncius. 
Sus,  sus,  anen  nos  disnar 
E  no'  menan  plus  ceto  festo 
Car  ya  vos  juro,  per  ma  testo, 
Que  vos  n'aure  de  plus  coyent. 

Primus  Nuncius. 
Ar  t'en  tiro  joliament, 
E  yo  asurey  mon  parlar 
De  fyn  heuras,  sen  tersar, 
E  peus  te  segrey  apres. 


Appendix  II.  187 

Secundus  Nuncius. 
E  yo  m'en  tirarei  volontier ; 
E  vous  venre  quant  vous  pleyre, 
Car  sabo  ben  que  s'en  segre. 
Davant  que  lo  jor  sio  pasas 
Vous  en  vire  dal  corosas, 
Et  vous  juro,  per  ma  fe, 
Qui  yo  vauc,  beoure,  qui  y'ai  grant  sen. 

PLEAS   FOR   SILENCE. 

[80]  (A),      25.     Per  tant  vous  requier  umbloment 
Que  non  metas  enpachoment 
Al  personnages  liqual  joharen 

29.     Et  si  vous  preouc,  fase  silencio 

Et  prenes  ung  pauc  de  patiencio. 
(B),      17.     Per  tant,  vous  requier  humbloment, 
Que  non  metas  empachoment 
Als  personnages  ly  qual  joaren. 

21.     Et  sy  vous  preouc  faze  silencio, 

Et  prenes  vung  pauc  de  paciencio, 
[81]  (iB),      5.     Nobla  gent,  ar  escota. 

55.     Ar  regarda,  nobla  gent. 

75.     Ar  escota-me,  segnors, 

80.     Entende  la  mya  entencion 

83.     Ar  escota,  si  la  vos  play. 
[83],  ii.     Que  vulha  en  pas  istar. 

[84]  (A),        8.     Mes  que  vos  ulha  a  tos  pregar 

Que  mon  companhon  ulhas  scotar. 

31.     Mas  pur  si  voles  ben  entendre, 
Grant  eyssemplo  y  porres  pendre. 

35.     Jeu  vos  faut  comandament, 

Que  tot  home,  danant  e  damont, 

De  entendre  prestament 

Es  cotar  la  rason 

Que  vos  dyra  mon  conphanio. 

44.     Per  so  vos  prege,  bonas  gens, 


1 88  Appendix  II. 

[84]  (A),  Que  non  ulhas  perde  lo  temps, 

68.    Jeu  vos  prege,  de  bon  amor, 
Que  non  ulhas  gayre  parlar 
Mes  ulhas  ben  estar 
Entendre  larson 
Que  vos  dira  mon  conphanium. 
*35-     Que  vulhas  en  tendres  amos  dichs. 
145.     Per  so  vulhas  ben  entendre 

Et  en  vostra  memoria  conpendre. 
148.     Que  vulhas  ben  au  vir 

Et  los  dis  retenir. 
164.     Vos  prege  vos  vulhas  asetar 

Et  vos  fasses  un  pauc  ariero. 
[85]  (lA),    12.     On  vos  suplio,  et  bas  et  faut, 

Que  se  voz  play,  prena  passiensio 
Et  que  ung  chascun  fasso  silensio, 
Trestouz  ensemps  be[ni]gnoment, 
(iB),    27.     Et  vous  preouc,  per  compassion, 
Que  chescum  si  fasso  silentio 
Et  d'escoutar  hayo  intention, 
Prenent  ung  pauc  de  paciencio. 
(2),       23.     Que  scoute  vous  voluc  requerre. 
27.     Pertant  fase  done  dilgencio 
D'esser  atens  de  tout  esfort 
37.     Pertant,  chascum,  se  vuelho  tayre, 
Escoutar  per  bono  intencion, 
Quesa-vous,  non  parle  plus  gayre. 
[86]  (iA),      9.     L'on  vous  siuplio  tos,  per  honor, 

Que  vuelha  ensemble  far  pax. 
19.     Perque,  si  vous  play  scouta, 

Ouvrire  partio  de  sa  vito. 
42.     Vulha  vos  trestous  asetar, 

Quesa-vos  et  non  parle  gayre. 
(iB),      4.     Plasso  vous  d'istar  tos  en  pax. 
7.     De  sanct  Pons ;  et  n'y  falhe  pas 
D'y  mettre  ben  vostro  memorio. 
(2),         4.     Escota  sens  menar  grant  fras. 


Appendix  II.  189 

7.     Dont  vos  pren  que  tos  en  pax 

Vos  vueilha  dossament  lojar. 
22.     Tot  eyso  nos  chal  contemplar. 


APOLOGIES. 

[80]  (A),      31.     Se  en  ren  eran  defalhents, 

Nous  vous  requeren  charoment 
Que  non  regardes  nostre  defet, 
Mas  vulha  metre  en  effet 
La  sustancio  si  exellent. 

[81]  (B),       15.     Car,  si  nous  fasian  ny  disian 
Ny  denguno  paraulo  proferian 
Que  non  f  osa  ben  dito, 
Nous  non  volen  pas  que  sio  scrito, 
Car  nous  nos  en  someten  a  la  ordenanso 
Dal  noble  ecelent  Rey  de  Franso, 
Y  a  nostre  segnor,  lo  Dalphim ; 
Plaso  a  Diou,  per  sa  marci, 
Que  li  done  longe  vio, 
Et  li  mantegno  sa  segnorio. 
D'autro  part,  a  ses  uficiers, 
A  gentilshomes  e  scuyers, 
A  licensias  e  a  dotors, 
A  predicours  et  frayres  menors, 
Et  a  tota  creaturo  vivent, 
Que  auvirent  nostre  parlament. 
76.     Si  vous  play,  perdona-nous. 

Nous  aven  f  ach  sest  esbatiment 
Per  tal  que  s'achampes  la  gent. 

[83],  28.     E  perdona  a  la 

[85]  (iA),    37.     Si  falhen  nostre  langage, 

Que  non  vengno  ben  en  visage, 
Ho  que  non  vegno  ben  en  rimo, 
Vos  non  en  vulha  far  stimo, 
Mas  perdona  a  nostro  ynorancio. 

[86]  (iA),    23.     Nostro  poyssansso  eys  ben  pechito 


190  Appendix  II. 

[86],  29.     Si  nos  falhian  nostre  lengage, 

Que  non  convegno  ben  en  rimo, 
La  non  eys  notari  tant  sage 
Que  non  falho  en  menar  sa  plimo ; 
Chasque  pays  a  sa  coustumo 
Et  son  parlar  parelhoment, 
D'aquo  eyqui  non  fassa  stimo, 
Ma  prene  en  gra  1'esbatiment. 


Table  of  Mysteries. 


191 


TABLE    OF    MYSTERIES    WITH    PROLOGUE 
INDEX.1 

[i]-[?8].    OLD   FRENCH   MYSTERIES. 

[i]  Les  Actes  des  Apotres.  M.  461.  Edit.  Angeliers 
freres  (1540),  M.  462.  /.  iB.  —  40  lines.  J.  5 
=  38  lines. 

[2]  Adam.     M.  217.     Edit.  L.  Palustre,  M.  218. 

[3]  L'Apocalypse,  par  Loys  Choquet.  M.  615.  Edit. 
Same  as  [i],  M.  462. 

[4]  L'Ascension  de  la  Vierge.  M.  473.  Edit.  Lunet,  M. 
473.  Prologue  =  131  lines. 

[5]  L'Assomption  de  la  Vierge.  M.  470.  Edit.  Paris, 
M.  470.  No  prologue. 

[6]  La  Conception  de  la  glorieuse  vierge  Marie  et  la 
Nativite  d'icelle,  avecques  la  Nativite  J.-C.  (First 
"journee"  of  the  de  Marnef  compilation).  M.  427. 
Edit.  Geoffray  de  Marnef,  M.  439. 

[7]  La  Creation,  la  Nativite,  la  Passion,  la  Resurrection 
de  N.-S.  J.-C.  (Bibl.  de  Valenciennes,  N°  421).  M. 
418.  Edit.  Ms.  421,  Bibliotheque  de  Valenciennes. 
M.  418.  No  prologue. 

[8]  La  creation  de  I'homme,  la  Nativite,  la  Vie,  la  Pas- 
sion, la  Resurrection  de  J.-C.  (Bibl.  de  Troyes,  n° 
2282).  M.  411.  Edit.  Ms.  2282,  Bibliotheque  de 
Troyes.  M.  411.  /.  4  =  777  lines. 

1  For  description  of  entire  mystery  and  text  from  which  a  prologue 
was  copied,  see  page  indicated  in  vol.  ii,  Les  Mysteres,  of  M.  Petit 
de  Julleville.  When  mention  of  the  mystery  is  not  found  in  the 
above  works,  reference  is  given  to  the  Bibliography  of  the  thesis, 
page  198. 

The  abbreviations  used  are :  M.  =  Vol.  II,  Les  Mysteres.  Edit.  = 
Text  from  which  prologue  was  copied.  /.  =  Journee.  B.  = 
Bibliography. 

In  this  present  list  mention  is  made  only  of  the  regular  prologues. 
The  irregular  prologues  are  indicated  in  the  body  of  the  text, 
page  96. 


192  Table  of  Mysteries. 

[9]  La  Creation,  la  Passion,  la  Resurrection.     (B.N.go4.) 

M.  413.     Edit.  Ms.  B.  N.  fr.  904,  M.  413.    Double 

prologue;  A  =  108  lines,  B  =  83  lines. 
[10]   La  Destruction  de  Troie,  par  Jacques  Millet.     M.  569. 

Edit.  Husz,  1485,  M.  570.     Prologue  =.  328  lines. 
[n]   L'Institution  de  1'ordre  des  Freres  Prescheurs.      M. 

522.    No  prologue. 
[12]   Griselidis.     M.  342.     Edit.  Ms.  B.  N.  fr.  2203,  M.  342. 

Prologue  =  100  lines. 
[13]   L'Incarnation  et  la  Nativite  de  J.-C.     M.  430.     Edit. 

Pierre  Le  Verdier,  see  B,  page  199.     J.   I  =  24 

lines.     J.  2  —  12  lines. 
[14]  Job  (a  49  personnages).     M.  377.     Edit.  Rom.  Beau- 

vais,  M.  377.     Prologue  =  211  lines. 
[15]  Le  Jugement  de  Dieu.     M.  460.     Edit.  Ms.  B.  N.  fr. 

15063,  M.  460.     /.  5  has  two  prologues;   A  —  16 

lines.     B  =  58  lines. 

[16]   Marie  Madeleine.     M.  533.     No  prologue. 
[17]  La  Nativite,  la  Passion,  la  Resurrection  de  N.-S.  J.-C. 

(texte  du  manuscrit  de  Sainte  Genevieve).    M.  379. 

Edit.   A.   Jubinal,    M.   381.      General  prologue  = 

770  lines. 
[18]  La  Nativite  de  N.-S.  J.-C.  (Ms.  Ste.  Genevieve).     M. 

382.      Edit.  A.  Jubinal,   M.   382.      Prologue  =  81 

lines. 
[19]  La  Nativite,  la  Passion,  la  Resurrection  de  N.-S.  J.-C., 

par  Arnoul  Greban.     M.  394.     Edit.  G.  Paris  et  G. 

Raynaud,  M.  397.     Prologue  (Creation  1740  lines'). 

Journee  I  (5  prologues}.     A  =  215  lines,  B  •=.  26, 

C  =  17,  D  =  25,  E  •=  23  lines.     J.  2  =  66  lines, 

J.  3  —  108  lines.     J.  4  =  177  lines. 
[20]  La  Nativite,  la  Passion,  la  Resurrection  de  N.-S.  J.-C., 

jouees  a  Valenciennes  en  1547.     (B.  N.  Ms.  12536.) 

M.   422.      Edit.    Ms.    B.    N.    fr.    12536,    M.    422. 

Twenty-five  journees.     J.  i,  5,  4,  5,  6,  8,  10,  13,  14 

20,  21,  22,  23,  24,  25  =  8  lines  each;  J.  2,  7,  o,  n, 

12,  15,  10  =  12  lines;   J.  16  =  o  lines;   J.  17  =  n 

lines;   J.  18  =  18  lines.     Total  242  lines. 


Table  of  Mysteries.  193 

[21]  La  Nativite  de  N.-S.     M.  436.     Edit.  Silvestre,  M. 

436.     No  prologue. 
[22]   La  Nativite,  1'Adoration  des  rois,  les  Innocents,  le 

Desert,    par    Marguerite    de    Navarre.      M.    620. 

Edit.  Frank,  M.  620. 
[23]   La  Nativite,  par  Barthelmy  Aneau.     M.  613.     Edit. 

Gryphium,  M.  613. 
[24]  Douze  mysteres  de  N.-D.  de  Liesse,  par  Jehan  Louvet. 

M.  608.     Edit.  Ms.     B.  N.  nouv.  acq.  fr.  481,  M. 

608.     No  prologues. 
[25]  Notre  Dame  du  Puy,  par  Claude  Doloson.     M.  597. 

Edit.  Chassaing,  M.  598.     /.  i  —  104  lines.     J.  2  = 

121  lines.     J.  3  =•  106  lines. 
[26]  La  Passion  de  N.-S.  (Ms.  Ste.  Genevieve).     M.  384. 

Edit.  A.  Jubinal,  M.  384.     Prologue  =  138  lines. 
[27]   La  Passion  de  J.-C,  par  Jean  Michel  (Journees  2-4 

of  de  Marnef  compilation) .    M.  440.    Edit.  Geuffroy 

de  Marnef,  M.  439.      Prologue  =  898  lines   (124 

copied) . 
[28]   Passion   d'Ambroise    (frag.)    B.    N.    nouv.    acq.    fr. 

1445.      Edit.  Picot.      See  B,  page  199.      Prologue 

(frag.)  =  ip  lines. 
[29]   La  Passion  de  N.-S.  J.-C.,  par  Eustache  Mercade.     M. 

415.     Edit.  Jules-Marie  Richard,  see  B,  page  199. 

/.  i  —  80  lines.     J.  3  —  72  lines.     J.  4  —  178  lines. 
[30]   Le  Proces  de  Misericorde  et  Justice.     M.  425.     Edit. 

i5e  siecle,  (B.  N.)  M.  425. 
[31]   La  Resurrection  (frag.).     M.  220.     Edit  Mm.  Mon- 

merque  et  F.  Michel,  M.  220.     Prologue  —  28  lines. 
[32]  La  Resurrection  de  N.-S.  (Ms.  Ste.  Genevieve).     M. 

385.     Prologue  —  129  lines. 
[33]  Resurrection,  (attribue  a  Jean  Michel)  M.  446.     Edit. 

Ant.  Verard,  M.  447.      Additions  from  Chantilly 
ms.  with  discussion,  see  Macon  (G).  B,  page  199. 

/.  i  A  —  239  lines.     B.  (Additions}  —  in  lines.    J. 

2  =  221  lines.     J.  3  =  242  lines. 


194  Table  of  Mysteries. 

[34]  La  Resurrection  de  J.-C.,  par  Eloy  du  Mont.     M.  605. 

Edit.  Ms.  B.  N.  fr.  2238,  M.  605. 
[35]  Le  Roy  Avenir.     M.  474.     Edit.  Ms.  B.  N.  fr.  1042, 

M.  474.     Prologue  =  225  lines. 
[36]  Saint  Adrien.     M.  466.     Edit,  see  Picot  (E),  B,  page 

199.    Prologue  =  40  lines. 

[37]   Saint  Andre.     M.  467.     Edit.  Sergent,  M.  467. 
[38]   Sainte  Barbe  (en  cinq  journees).     M.  478.     Edit.  Ms. 

B.  N.  fr.  976,  M.  478. 
[39]   Sainte  Barbe   (en  deux  journees).      M.  486.      Edit. 

Caluarin,   M.   486.     J.    lA  •=  132  lines.     iB  =  40 

lines. 
[40]   Saint  Bernhard  de  Menthon.    M.  488.    Edit.  Lecoy  de 

la  Marche,  see  B,  page  199.     /.  2  =24  lines. 
[41]   Saint  Christophe.      M.  491.      Edit.  Chateaugiron,  M. 

491.    No  prologue. 
[42]   Saint  Christophe    (i6th  century,  by  Chevalet).     M. 

599.     Edit.  Amalberti,  M.  599. 
[43]   Saint  Clement.     M.  493.     Edit.  Abel,  M.  493.    No 

prologue. 
[44]   Saint  Crespin  et  Saint  Crespinien.      M.  498.      Edit. 

Silvestre,  M.  498.     No  prologue. 
[45]  La  Conversion  de  Saint  Denis.      M.  502.      Edit.  A. 

Jubinal,  M.  502.     No  prologue. 
[46]   Le    Martyre    de    Saint   Denis.      M.    504.      Edit.    A. 

Jubinal,  M.  504.     No  prologue. 
[47]   Saint  Denis    (en  deux  journees).      M.   506.      Edit. 

Erler  (Otto),  see  B,  page  198. 
[48]   Saint  Didier,  par  Guillaume  Flamang.    M.  508.    Edit. 

Techener,  M.  509.     /.  i  =  136  lines.     J.  2  =  40 

lines.     J.  3  =  40  lines. 
[49]   Le  Martyre  de  Saint  Etienne.      M.   510.      Edit.  A. 

Jubinal,  M.  510. 
[50]   Saint  Fiacre  (a  quinze  personages).     M.  513.     Edit. 

Sainct-Denis,  M.  513. 
[51]   Sainte  Genevieve.      M.   515.      Edit.  A.  Jubinal,   M. 


Table  of  Mysteries.  195 

[52]   Saint  Genis.     M.  520.     Edit.  Mostert  &  Stengel,  see 

B,  page  199.     Prologue  =  66  lines. 
[53]  Sainte  Marguerite.     M.  531.     Edit.  Bonfans,  M.  531 

(2°).    No  prologue. 
[54]  Saint  Martin  (a  53  personnages).      M.  535.     Edit. 

Silvestre,  M.  535.     Prologue  =  80  lines. 
[55]   Saint  Martin,  par  Andrieu  de  la  Vigne.      M.   539. 

Edit.  Ms.  B.  N.  24332,  M.  539.    /.  /  =  8  lines.    J. 

2  =  8  lines.     J.  $A  =  8  lines.     38  —  8  lines. 
[56]   Saint   Nicholas,    par   Jean    Bodel.      M.    221.     Edit. 

Monmerque  et  Michel,  M.  222.      Prologue  =  114 

lines. 
[57]   Saint  Nicolas  (i5th  century).     M.  541.     Edit.  Tre- 

perel,  M.  541. 

[58]   Saint  Laurent.     M.  524.     Edit.  Lotrian,  M.  524.    Pro- 
logue =.  163  lines. 
[59]   Saint  Louis    (en  3  journees).      M.   527.     Edit.  F. 

Michel,  M.  527.    Prologue  J.  2  =  8  lines. 
[60]   Saint  Louis,  par  Gringore.     M.  583.     Edit.  Montaig- 

lon,  M.  583. 
[61]  La  Conversion  de  Saint  Paul.     Edit.  A.  Jubinal,  M. 

544.     No  prologue. 
[62]   Le  Martyre  de  Saint  Pierre  et  Saint  Paul.     M.  546. 

Edit.  A.  Jubinal,  M.  546. 
[63]   Saint  Pierre  et  Saint  Paul.    M.  548.    Edit.    Trepperel, 

M.  548.    No  prologue. 
[64]   Saint  Quentin.      M.  549.      Edit.  Ms.  Bibliotheque  de 

Saint  Quentin,  M.  550.     No  prologue. 
[65]   Saint  Remy.      M.  555.      Edit.  Ms.  Bibl.  de  1'Arsenal 

3364,  M.  555.     Prologue  =  158  lines. 
[66]   Saint  Sebastien.     (B.  N.  fr.  12539)  premiere  journee. 

M.   557.      Edit.   Rabut,  M.   558.      Prologue  =  49 

lines. 
[67]   Saint  Sebastien    (B.  N.  nouv.  acq.   fr.   1051)    en  2 

journees.     M.  560.     Edit.  Ms.  B.  N.  nouv.  acq.  fr. 

1051,  M.  560.     /.  i  =  382  lines. 


196  Table  of  Mysteries. 

[68]   Saint  Vincent.    M.  561.    Edit.  Ms.  B.  N.  fr.  12538,  M. 

561.     Prologue  =  201  lines. 
[69]   La  Sainte  Hostie.      M.  574.      Edit.  Bonfans,  M.  574 

No  prologue. 

[70]  Le  Siege  d'Orleans.    M.  576.    Edit.  Guessard,  M.  576. 
[71]   Theophile,  par  Rutebeuf.     M.  223.     Edit.  Monmerque 

et  Michel,  M.  223. 
[72]   Trois  Doms.     Edit.  Giraud  et  Chevalier,  see  B,  page 

198.     /.  i  —  8  lines. 
[73]  Le  Geu  des  Trois  Roys  (Ms.  Ste.  Genevieve).     M. 

383.      Edit.  A.  Jubinal,  M.  383.      Prologue  =  150 

lines. 
[74]  Les   Trois   Rois,   par   Jean   d'Abundance.      M.   619. 

Edit.  Ms.  B.  N.  nouv.  acq.  fr.  4222,  M.  619.    Double 

prologue;  A  =  21  lines,  B  =  p  lines. 
[75]   Moralite  des  Trois  Roys.      Edit.  Bulletin  du  comite 

des  travaux  historiques,  see  B,  page  198. 
[76]  La  Vengance  de  Notre  Seigneur.     M.  451.     Edit.  A. 

Verard,  M.  451.     7.   /  =  78  lines.     J.  2 A  —  115 

lines.     2B  —  137  lines.     J.  j  —  120  lines. 
[77]   La  Vie  de  N.-S.  (fragment).     Edit.  Ms.  B.  N.  nouv. 

acq.  f r.  4,356.     Prologue  =  35  lines. 
[78]   Le    Vieux    Testament.      M.    352.      Edit.    James    de 

Rothschild,  M.  353.      Also   i.  Job;    2.  Tobie;    3. 

Daniel  et  Suzanne;    4.  Judith;    5.  Esther;    6.  Oc- 

tavien  ;  7.  Abraham ;  8.  Joseph ;  9.  Suzanne.     Last 

three  in  separate  editions. 


[7pH*7l.     PROVENCAL    MYSTERIES. 

[79]   Sainte  Agnes.     M.  345.     Edit.  Bartsch,  M.  345.     No 

prologue. 
[So]  Saint  Andre.     Edit.  Fazy,  see  B,  page  198.     J.  lA  = 

37  lines.     iB  —  28  lines. 
[81]   Saint  Anthoine.      Edit.  Guillaume,  see  B,  page  198. 

Prologue  •=.  120  lines. 


Table  of  Mysteries.  197 

[82]  L' Ascension.  Edit.  Revue  de  Philologie  franchise  et 
provenqale,  see  Jeanroy,  B,  page  198.  No  prologue. 

[83]  Saint  Eustache.  Edit.  Guillaume,  see  B,  page  198. 
Prologue  =  164  lines. 

[84]  Saint  Jacques.  M.  564.  Edit.  Arnaud,  M.  564.  Pro- 
logue =  169  lines. 

[85]  Saint  Pierre  et  Saint  Paul.  M.  565.  Edit.  Guillaume, 
see  B,  page  198.  /.  lA  =  44  lines.  iB  =  jo  lines. 
J.  2  =  44  lines. 

[86]  Saint  Pons.  M.  566.  Edit.  Guillaume,  see  B,  page 
198.  J.  i A  =  44  lines.  iB  =  28  lines.  J.  2  = 
28  lines. 

[87]  Mysteres  Rouergats  (Ms.  B.  N.  nouv.  acq.  6252). 
Jeanroy  et  Teulie,  see  B,  page  198. 

[A]-[F].    BRETON    MYSTERIES. 

[A]  Buhez  Sant  Gwennole.     Edit.  Luzel,  see  B,  page  199. 

No  prologue. 

[B]  Buhez  Sant  Nonn.      Edit.  Sionnet,  see  B,  page  199. 

Prologue  mutilated.     Free  translation  given. 

[C]  Le   Grand   Mystere   de  Jesus.      Edit.   Hersart  de  la 

Villemarque,    see    B,    page    198.      Prologue    with 
translation. 

[D]  Saint  Maxent  (Galiqzon).    Edit.  Melanges  historiques, 

litteraires,  etc.,  see  Ropartz,  B,  page  199.    Analysis 
of  prologue. 

[E]  La  Creation  du  Monde.     Edit.  Revue  celtique,  see  Ber- 

nard, B,  page  198.     Nineteenth  century  copy  with 
modern  prologue. 

[F]  Sainte  Barbe.    Edit.  Archives  de  Bretagne,  see  Ernault, 

B,  page  198.     Prologue  with  translation. 


igS  Bibliography. 

BIBLIOGRAPHY.1 

BERNARD,   (L'ABBE). — La  Creation  du  Monde.     Revue  celtique,  IX, 

pp.  14^-207,  322-353 ;  X,  192-414 ;   XI,  254. 
Bulletin   du   comite   des   travaux    historiques   et   scientifiques,   vol. 

(1896),  pp.  704-722. 
BURGER,   PAUL. — Uber  typische  Durchbrechungen  der  dramatischen 

Einheit  in  fransosischen  Theater  in  seiner  Entwicklung  bis  an 

den  Ausgang  der  klassichen  Zeit.     (Thesis.)     Breslau,  1901. 
CHAMBERS,  E.  K. — The  mediaeval  stage.    2  vols.     Oxford,  1903. 
DARMESTETER,  A.  and  HATZFELD,  A. — Le  Seisieme  Siecle  en  France. 

8e  edit.,  Paris. 

ERLER,  OTTO. — Das  Mystere  in  H.  S.  Nr.  1041  der  Nat.  Bib.    Mar- 
burg, 1896. 
ERNAULT,    EMILE. — Buhez    Sante    Barba.     Archives    de    Bretagne. 

Tome  III.     Nantes,  1885. 

FAZY,  A.—Le  Mystere  de  Saint-Andre.     Aix,  1883. 
G.T.B. — Study  of  the  prologue  and  epilogue  in  English  literature 

from  Shakespeare  to  Dryden.     London,  1884. 
GIRAUD,   P.   E.   and   CHEVALIER,  U. — Le  Mystere  des  Trois  Doms, 

joue  a  Romans  en  MDIX.     Lyon,  1887. 
GROBER,    GUSTAV. — Geistliches    Drama.     Historisches    Drama.     Gr. 

Gr.,  pp.  1204-1238. 
GROENEVELD,  H. — Die  dltestc  Bearbeitung  der  Griseldissage  in  Frank- 

reich.     Marburg,  1888. 
GUILLAUME,  PAUL  (L'ABBE). — Le  Mystere  de  Sant  Anthoni  de  Vien- 

nes,  public  d'apres  une  copie  de  1'an  1503.     Paris,  1884. 
GUILLAUME,  PAUL. — Le  Mystere  de  S.  Eustache,  joue  en  1504  sous 

la   direction  de   B.   Chancel,   Chapelain   du   Puy-Saint-Andre, 

pres  Briangon.     Montpellier,  1891. 
GUILLAUME,  PAUL. — Istoria  Petri  et  Pauli.    Mystere  en  langue  prov- 

engale   du    I5e   siecle,   public    d'apres    le    manuscrit   original. 

Paris,  1887. 
GUILLAUME,    PAUL. — Istorio   de   Sanct  Pones.    Mystere   en   langue 

provenc.ale    du    I5e    sieck,   public    d'apres    un    manuscrit    de 

1'epoque.     Paris,  1888. 
JEANROY,  A.  and  TEULIE,  H. — L' Ascension.    Mystere  provengal  du 

I5e  siecle.     Revue  de  Philologie  franchise  et  provengale,  IX, 

p.  81. 
JEANROY,  A.  and  TEULIE,   H. — Mysteres  provenqaux  du  /5e  siecle. 

Toulouse,  1893. 
LA    VILLEMARQUE    (HERSART    DE). — Le    Grand    Mystere    de    Jesus. 

Paris,  1865. 

1 A  large  part  of  the  bibliography  of  the  subject  is  not  given  here, 
being  found  in  "Les  Mysteres"  of  M.  Petit  de  Julleville.  The  page 
reference  of  these  works  is  indicated  in  the  Table  of  Prologues. 


Bibliograp  hy,  199 

LECOY  DE  LA  MARCHE,  A.—Le  Mystere  de  S.  Bernard  de  Menthon, 
d'apres  le  manuscrit  unique  appartenant  a  M.  Le  Comte  de 
Menthon.  Societe  des  Anciens  Textes.  Paris,  1888. 

LE  VERDIER,  PIERRE. — Mystere  de  I'Incarnation  et  Nativite  de  notre 
sauveur  et  redempteur  Jesus-Christ.  Represente  a  Rouen  en 
1474.  Public  d'apres  un  imprime  du  15°  siecle.  Rouen,  1884-6. 

LUZEL,  F.  M. — Buhez  Sant  Gwennole,  Abad.    Quimper,  1889. 

MACON,  G. — Note  sur  le  Mystere  de  la  Resurrection,  attribue  a  Jean 
Michel.  Extrait  du  Bulletin  du  Bibliophile.  Paris,  1898. 

MEYER,  PAUL. — Mystere  de  la  Passion.  Provencal  fragment.  Daurel 
et  Breton,  pp.  99-100.  Societe  des  Anciens  Textes.  Paris, 
1880. 

MEYER,  PAUL. —  (List  of  Provencal  mysteries.)  Rapport  sur  les  com- 
munications de  MM  Blanc,  Charvet,  etc.  Revue  des  Societes 
Savantes.  6e  serie,  III,  1876 

MOSTERT,  W.  and  STENGEL,  E. — L'ystoire  et  la  Vie  de  S.  Genis,  nach 
der  einzigen  bekannten  Handschrift.  Marburg,  1895. 

PETIT  DE  JULLEVILLE,  L. — Les  Mysteres,  2  vols.    Paris,  1880. 

PICOT,  E. — Passion  d'Ambroise.  Fragment.  B.  N.,  Nouv.  acq.  fr., 
1445.  Rom.  XIX,  p.  266. 

PICOT,  E. — Le  Livre  et  Mystere  du  glorieux  seigneur  et  martir  Saint 
Adrien,  public  d'apres  un  manuscrit  dc  Chantilly.  Macon, 

1895- 
PICOT,  EMILE. — Fragments  inedits  de  Mysteres  de  la  Passion.    Rom. 

XIX,  pp.  260-282. 
POEWE,  JULIUS. — Sprache  und   Verskunst  der  Mysteres  Inedits  du 

XV  Siecle.     (Thesis.)     Halle,  1900. 

RICHARD,  JULES-MARIE. — Le  Mystere  de  la  Passion.    Texte  du  Manu- 
scrit 697  de  la  Bibliotheque  d' Arras.     Arras,  1891. 
ROPARTZ,  M.  S. — Le  jeu  de  S.  Maxent.    Melanges,  hist.,  lit,  bibl., 

publics   par    la    Societe    de    Bibliophiles    Bretons.     Tome   I. 

Nantes,  1878. 
ROY,  EMILE. — Etudes  sur  le  theatre  frangais  des  if  et  if  siecles. 

Le  Jour  de  Jugement.    Paris,  1902. 
SEPET,    MARIUS. — Les    origines    catholiques    du    theatre    moderne. 

Paris,  1900. 
SIONNET,  (L'ABBE)  and  LEGONIDEC,  M. — Buhez  Santez  Nonn,  ou  Vie 

•de  Sainte  Nonne.     Paris,  1837. 

STENGEL,  E. — Romanische  Verslehre,  Gr.  Gr.,  II,  i,  pp.  1-96. 
STENGEL,  E. — Das  Fransdsische  Drama  in  Mittelalter.    Krit.  Jahr., 

Ill,  pp.  126-136;    IV,  2.  Teil,  pp.  558-565- 
STODDARD,  F.  H. — References  for  students  of  Miracles  and  Mysteries. 

U.  of  California  Lib.  Bulletin,  No.  8,  1887. 
THOMAS,  A. — Chronique,  Rom.  XXXII,  p.  630. 
TOBLER,  ADOLF. — Vom  Franzosischen  Versbau,  Alter  und  Neuer  Zeit. 

4.  Aufflage.     Leipzig,  1903. 


200  Life. 


LIFE. 

I  was  born  November  16,  1874,  in  Dixon,  Illinois.  My  preparatory 
education  was  received  in  the  public  schools  of  the  state  of  Illinois. 

I  was  graduated  from  the  University  of  Illinois  in  1896,  and  received 
the  degree  of  M.A.  in  1898.  I  taught  in  this  university  from  1896  to 
1898  as  Fellow  and  Assistant.  The  year  1898-99  I  was  a  student  in 
the  Sorbonne  at  Paris.  Returning  from  Paris  in  1809,  I  taught  four 
Quarters  as  Assistant  in  the  University  of  Chicago,  pursuing  at  the 
same  time  courses  in  the  Graduate  School.  I  left  Chicago  to  take 
the  position  of  Professor  of  Modern  Languages  in  the  University 
of  Idaho.  After  one  year's  work  in  this  institution  I  accepted  the 
position  of  Assistant  Professor  in  the  University  of  Illinois. 

In  1903,  after  two  years  of  teaching,  I  was  granted  a  two  years' 
leave  of  absence,  which  time  I  have  spent  in  graduate  work  in  Yale 
University  and  in  Paris. 


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